December 2014 December 82
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Earl Jackson gets them jiving at the Dublin Castle (photos © Tony Annis)
Cliff White speaks. . . a lot Tony Papard listens to the radio Tony Annis on the Dublin Castle Mr Angry gets profiled - not a pretty sight Soul Kitchen, Jazz Junction, Blues Rambling And more...
1
Hi Keith, I'm not sure you were alive in 1971 when the first issue of our first mag appeared. I thought you and TFTW might be interested (and even amused) to see a sample of it. Extract from my editorial: "Why do we call it "THE ROCK"? Because the music of the fifties/early sixties to us is "THE ROCK", not the so-called "Rock" of today. Because our interest in and love of it is as steady and as strong as a Rock." (Cringe) We hope you feel the same way." Well, we received some strange feedback. For example, the Blackpool Striped Rock Confectionery Co. wrote to us asking for free samples. Also, the Armada Club in Gibraltar requested copies to present to the Spanish Ambassador. Only joking... 43 years ago!! Yours, Neil Foster
2 That doggie in the window says: “ HOLD THE THIRD PAGE! and how much would you pay? ”
Hi Gang. It is with much sadness that I commence my column for Issue 82. I know I speak for all the loyal attendees of our annual 2is Reunion/British Rock’n’Roll Heritage Show that we were so looking forward to having rhythm guitarist, singer and founding member of the Liverpool institution which is The Undertakers, Geoff Nugent, joining us for what would have been his debut on a Tales From The Woods show at the Borderline on Sunday 1st February 2015. Sadly Geoff died on October 12th at the age of 71. It is not too many issues past that this magazine paid tribute to another founding member of this legendary band, Jackie Lomax, who passed away last year. At the time of writing we have as yet not decided upon a replacement. TFTW will be paying tribute to Geoff later within these pages. On a happier note it was indeed rewarding for both Radio Sutch and TFTW to receive so much favourable coverage for our one-off gig at the Dublin Castle on Sunday 28th September which featured Earl Jackson, Smiley Jacks and bowler-hatted eccentric DJ Wheelie-Bag, who provided a night of entertainment rarely seen at this legendary music venue in London’s calculatingly trendy area known as Camden Town. This venue’s rich heritage stretches back to the seventies and beyond, certainly one of the very few venues to survive from what was once a thriving scene. Earl Jackson deservedly made the front cover of two rockin’ magazines, one of which gave a mention to the venue. I have no idea if the Dublin Castle management were pleased with the plug delivered from unusual quarters as a reply to my email advising them was not forthcoming. Many articles and photos contained within the aforementioned magazines carried many words of praise for the event, humbled too to by the compliments that Tales From The Woods is bringing Rock’n’Roll, rhythm and blues and quality roots music back to central London for the first time in many years. Naturally we had to replace all our posters upon arrival at the venue in the hours leading up to show time; obviously the promotions company who dictate the music policy six days a week are quite happy to keep "live music live"… providing it's their own. Reviews of the gig can be found contained within this No 82 Issue, so no need to say more here except to hand out a few special “thank you”s to those back room people who helped to make the evening the special occasion that it became. To Radio Sutch whose dedication to Tales From The Woods cannot be measured; to the soundman Fuzz Duprey who did such an excellent job with the sound for a style of music that he would, for the most part, be unfamiliar with; to TFTW transport manager Cliff Stevens who on the night wore another hat as that of Stage Manager, offering a word or two of assistance to Fuzz if required; in particular a special mention to our © Tony Annis merchandise/cashier lady of many years standing, Elena who sat in near total darkness at a table having to sell tickets and calculate change with just a tiny pencil torch for light - I was advised that the wall light provided for that very purpose has not worked for many years and there appear to be no imminent plans for a repair; to the reviewers who kindly spread the word for TFTW so that we were able to proudly appear on those covers along with complimentary words inside; to the
3 photographers who captured so many wonderful images and to the dancers who helped to make those very images, I say “Thank You”. It would indeed take something very special for Tales From The Woods to be tempted to promote a gig during the Christmas period, and if you were at our last boogie-woogie evening back in sun kissed June at the Spice Of Life in the heart of London’s bustling west end, then I am sure you will understand the reason for doing so. Even if you were not able to make it but read the many compliments or simply heard through the musical grapevine I am sure you will make sure not to miss out this time. On Sunday 28th December we shall be spending an evening in the company of James Goodwin. this consummate musician will be sitting at the piano entertaining us with the fascinating history of the often overlooked genre that is boogie woogie, and its many off-shoots from ragtime through to rhythm and blues and Rock’n’Roll, accompanied by often rare footage of the legends of the style that would influence countless musicians amongst the generations yet to be born. A special screen will be erected for this unique occasion. Tickets went on sale via the usual channels from Monday 3rd November.
4 More 'hot news off the press'. Dave Travis, musician, publisher, writer and good friend to us all here at TFTW, will be celebrating a milestone birthday during the month of March 2015, and we are throwing a party like only we can, Monday 16th March to be precise, at the Spice Of Life. Linda Gail Lewis will be rockin’ the keyboard like only she can, along with her UK backing band, Some Like It Hot. Promises to be one hell of a party. Linda Gail needs no introduction from me, nor will you need any reminding that she is the sister of Rock’n’Roll/country legend from Ferriday Louisiana, Jerry Lee Lewis. I know both Woodies and Linda Gail fans were bitterly disappointed when our virtually sold out show at London’s Water Rats Theatre was cancelled (sabotaged?) with barely a week to go a couple of years ago. This is a truly wonderful way for Dave to celebrate his birthday, equally for us to make it up to the legions of Lewis family fans. Many of you good folks have asked whilst in conversation, or emailed, texted even, "When are we going to have another theatre show?" The question has been asked virtually since the last curtain fell on a Tales From The Woods show at the Empire Theatre, Halstead, Essex. The reply was generally "When a suitable opportunity presents itself." We at TFTW HQ are proud to say that much waited for opportunity has presented itself, for on Sunday May 17th 2015, you will find us all at the grand location of Woodville Halls Theatre, Gravesend, with a line-up that is nothing short of amazing, featuring Cliff Bennett and the Original Rebel Rousers, Chris Farlowe and the Norman Beaker Band, Matchbox, Beryl Marsden, the singing link man will be none other than Jess Conrad. We shall soon be preparing the publicity, press release, flyers etc. for this extravaganza, no doubt by the time this magazine appears on your screens, or lands on your doormats, that will have already happened. "Watch this space" as we often say, for we shall be announcing how to apply for tickets, and news of this exciting project in the weeks and months ahead.
Last Issue we ran considerable coverage on 2is Reunion/British Rock’n’Roll Heritage Show 10 part 1, on Sunday 1st February at London’s Borderline in the heart of the west end. Suffice to say, there’s little else to add at this stage, other than tickets went on sale on October 14th, and can be bought through us or direct from the Borderline box office, which is open from 11am through to 7pm daily, on 0844 847 2465. If tickets are purchased directly from the Borderline box office during these hours there will not be a booking fee for either card or cash sales. Tickets I am pleased to say, are selling well already, so don't leave it too long before you get your considerably reduced Woodie price ticket. We will return for part 2 during the balmy summer days of late June, Sunday 28th. making his debut on a TFTW stage will be that man with "Deep Feeling" 5 on HMV back in 1960, Mike Sagar, along with his lifelong collaborator, the iconic guitarist Richard Harding, who will also be doing a solo guest spot. Returning are among those you voted for, Cliff Edmonds and Graham Fenton. Certainly a busy time for Graham as far as TFTW gigs are concerned as this will be barely more than a month after he will tearing up the stage with us at the Woodville Halls, Gravesend, as part of Matchbox, which leaves a couple of vacancies. I wonder who they will be? I can’t wait to find out, can you? A name missing amongst your votes? Don’t despair, part 3? or 2is 11? Who knows? "Watch this space" or have I already said this? Unbelievably another year is drawing to close, a year like last, the one before that, and so it goes on, depending on how many years you have been on this earth, good reader. Time seems simply to flash past by our eyes. Us Woodies don't sit still too long, which makes us realise that 'old clock on the wall' don't hold enough hours in the day. I expect you have already been out on those busy high streets wherever you may live Christmas shopping, stocking up the fridge, freezers and cupboards, or buying extortionately overpriced gifts for family, friends, or maybe you are like me, just simply do your best to ignore the whole shindig, reluctantly dragging yourself out to purchase a few essentials from your local unfriendly supermarket, just minutes before they close their doors for the brief holiday. Whichever of these hats may fit you most accurately, may I take the opportunity to wish you all the joys of the season, along with a healthy, peaceful and wealthy 2015. As the clock strikes midnight on December 31st and 2014 slips unnoticed into history, I shall raise a glass to you, despite all the success that Tales From The Woods has been blessed with during the course of 2014, it has not been a happy time on a personal level, losing too many good friends, whilst others have been struck down by illness, seemingly out of nowhere. It’s going to be better, happier times for 2015. Keep coming to our shows, our many fun filled social events, keep enjoying the magazine. Yep! You got it! "We’re gonna keep on partying, just like we did back when"… do I detect a song coming on? Tales From The Woods raises a glass and says farewell to rhythm guitarist, singer and founding member of the highly respected Liverpool band the Undertakers who died suddenly on Sunday October 12th aged 71. Geoff Nugent was born in Liverpool on 23rd February 1943, a childhood friend of Beatle to be George Harrison, like his friend he was bitten by the music bug when Rock’n’Roll swept across the Atlantic in the mid-fifties. Liverpool as it is commonly known in music circles was far luckier than most British cities, towns and villages due to the city’s once thriving docks where sailors arriving from the USA brought with them American Rock’n’Roll, rhythm and blues, and country records to which at the time the ears of its young and enthusiastic listeners would otherwise not be exposed. Geoff, like so many idealistic young lads, soaked up everything he heard and by the late fifties was already proficient enough to step into the lead guitarist shoes for Bob Evans and the Five Shillings. It was after a little shuffling of departures and arrivals of group members that they would transform into the Vegas Five, one of the very few bands in the city that boasted a tenor sax, that being in the safe and very capable hands of one Brian Jones (no not that one) allowing them to stretch out on far wider material in the same way made possible for another of Liverpool’s mighty institutions, Kingsize Taylor and The Dominoes and soon they were one of the hottest properties in the city. One night in 1961 they were booked to play one of the many local venues, however a piece of advertising by a local paper went very much awry, an advert for a local undertakers transposed on to the advertising for the gig. A quick thinking promoter turned it to a promotional coup suggesting that they play the "death march" at the start of the show, so the name Undertakers was born. After a couple of personnel changes, Geoff swapped his lead for rhythm guitar and they were soon 6 to have their sound perfected by the arrival of singer and guitarist Jackie Lomax (obit in issue 79). They indeed became hot property; it is claimed that fans queuing outside the cavern for the Undertakers was used by the Beatles management as early publicity that the intention of the eager young punters was indeed for the four mop tops. In the following years the band took the first of many trips to Germany, to perform at the legendary Star Club in Hamburg, however on their return they rejected an offer by Beatles manager Brian Epstein to manage them, choosing instead to sign with Pye Records. With Tony Hatch as their producer, as with so many bands who performed their best on a live stage, few of their records managed to capture their excitement although their version of "Just A Little Bit", their third single, rode the top fifty in the UK singles chart during the month of April 1964. The Undertakers split up after a tour of the United States in 1965, Jackie Lomax and two other members remaining in America looking for a break through, while Geoff returned to his native city. He would soon form another outfit named the New Undertakers, stepping into the lead guitar role again along with being a vocalist, a duty he shared with another fine singer, Brian Jones, who had been such a prominent force in the previous incarnation. Geoff continued to work professionally as a musician in Liverpool and surrounding northern regions for the many decades that followed, a much respected musician and person, unselfishly working to raise cash for various charities through his association with Mersey cats and Mersey rats. In 2007 Geoff reformed The Undertakers once again to perform at the City of Liverpool’s prestigious garden festival, which consisted of Geoff on rhythm guitar and vocals and original member Brian Jones on tenor sax and vocals along with Baz Davies lead guitar, Bill Good on bass guitar and Jimmy 'O Brien on drums. A far younger self was luckily able to see the Undertakers perform just once, not in their native city, but in London at the long gone but often mentioned and fondly remembered Club Noreik in Tottenham, I guess within the first few months of 1965. Worth mentioning too at this eclectic modernist venue I saw Kingsize Taylor and the Dominoes who performed their own set before backing the star of the show, the legend that is Chuck Berry. Another band I saw was by all accounts a rather short lived affair, Chick Graham and The Coasters (any further stories, info, readers would be much appreciated). When Mersey-beat fan Gary Enstone whispered in my ear that Geoff Nugent could often be spotted around the rockin’ north west of England and was as good as ever and would be a perfect albeit overlooked talent to perform at the annual Borderline show, I soon got cracking on the prospect knowing fully well that Gary is indeed a fountain of knowledge on the Mersey scene and has pointed TFTW in the direction of this city’s wealth of talent over the last couple of years. I was hugely looking forward to having Geoff join us in February, all the lads and lass in the TFTW band were equally excited, as was Geoff whom I spoke to on the phone just two days prior to his death. We chatted regarding the gig, generally swapping ideas, as he was loading up after a gig he had just played that Friday lunch time in Liverpool. He mentioned before we hung up that he would be playing another gig that following Sunday and we should natter again soon. Geoff, by all accounts received, did not play that gig on Sunday as he took to his bed that Sunday afternoon to take a nap and never woke up. It was only when he failed to show for the evening gig that the alarm was raised and the very sad truth emerged. There can be little doubt regarding the esteem in which he was held by his contemporaries and friends, as reports suggest that an estimated 400 people attended Geoff’s funeral, the many guitarists present paid a special tribute by creating an arch with their upheld guitars. 7 Tales From The Woods raises a glass and says farewell to blues singer and guitarist/pianist Tabby Thomas who died on 1st January 2014. © Paul Harris 1998 Ernest Joseph Thomas, who specialised in a sub style of the blues indigenous to southern Louisiana known as 'Swamp Blues', was born 5th January 1929 in Baton Rouge, Louisiana. Sometimes known as Rockin’ Tabby Thomas, he was a regular feature at the annual New Orleans Jazz and Blues Heritage Festival virtually since its inception, and his blues club, Tabby's Blues Box, was a must for any blues fan’s agenda when making a pilgrimage to the southern states. Tabby opened the original club in 1978 and it was here that his son the blues musician Chris Thomas was able to cut his musical teeth the club. was forced into closure in the year 2000 to make way for a city overpass, while a move to other premises lasted just four years after a serious road accident in 2002 which no doubt helped to bring on a debilitating stroke in 2004. After a lengthy period of recovery he never fully regained the capability to play the guitar or piano although his voice regained its strength and it was this that he would concentrate on during his twilight years. he would through these years host a blues radio show on WBRH-FM and KBRH-AM, and although his appearances were many in mainland Europe, his UK appearances were a rarer occurrence. I was lucky enough to catch him in action a couple of times; under the blazing heat of a New Orleans afternoon at the aforementioned Jazz and Blues Heritage festival and again at what still must be, and quite likely ever will be, the finest of all European events, the revered but sadly gone Utrecht Blues Festival which was held in that bustling Dutch city annually in November. Tabby’s early life is sketchy to say the least, reference books give little away other than that he grew up in Baton Rouge, Louisiana and was destined to spend much of his life there, outside of serving in the United States Air Force. It was whilst he was enlisted that an indication was given as to where his life may lead by entering a talent contest on KSAN radio based in San Francisco, which he won with ease, the year being 1949. Still only barely twenty years old he decided to stay in California to try his luck at the still active and very popular blues venues and recorded several sessions for 'Hollywood Records' which failed to make any impact at all. Disillusioned he headed home to Louisiana, recording for small Mississippi based labels before coming to the attention of the legendary J D Millar studios in Crowley, Louisiana in 1953. Soon to make the recordings and sound for which he will be forever associated with such luminaries on hand on his sessions as Katie Webster, Lazy Lester, Lionel Torrence on the Excello label, how could he go wrong? It was this period that produced Tabby’s best known recording, Hoodoo Party in 1961, although it is likely that during this period he gave up his day job where he was heavily involved in being a union steward despite the fact he had become one of the best known blues men working the southern chitlin' circuit with his band the Mellow Mellow Men. The late sixties would see Tabby considerably cut back from touring to set up his own record label 'Blue Beat' here over the years to come he would not only put out a collection of albums, including 'Swamp Man', 'Swamp Man Blues', 'Louisiana Blues', 'Blues From The Swamp' and 'Along The Blues Highway'. The latter albums included a number of tracks recorded live at Tabby’s Blues Box, often with guest musicians sitting in such as former pianist with the legendary Howlin’ Wolf, Henry Gray as well as local names such as Tab Benoit and of course his son Chris who took care of the modern sounds of the idiom. © Paul Harris 1998
8 Tales From The Woods raises a glass and says farewell to singer Shane Fenton aka Alvin Stardust who died on 23rd October 2014 aged 72. Club Noreik in Tottenham is often cited by me within these pages and this alcohol free palace of the modernist, at some point during the year of 1964, was playing host to Shane Fenton and the Fentones, an unusual choice, which took those in the know by surprise at a venue mostly associated with rhythm and blues bands, visiting American Blues legends and the occasional 1950’s Rock’n’Roll hero. The aforementioned Shane Fenton was indeed thought of as someone whose day had come and gone, his brief time spent in the spotlight met with moderate success before being swamped by changing times. a few of us walked along Tottenham High Road to where this former cinema sat at the junction of Seven Sisters Road, paying our 12s/6d at the cash desk without fuss, indicating that business had not been brisk. Once inside the crowd was sparse and remained much the same. Shane looked decidedly unhappy as he sang his way through what I expect was his usual stage repertoire. Some lads not too far from where we stood were not hiding their feelings, and I thought at one point Fenton would jump down from the stage with fists flying, his displeasure clear for all to see. He seemed to be staring them out for an entire song as though lip-reading their every utterance. The gig passed without further incident, and soon Shane Fenton and the Fentones were no more. Splitting up in an era when groups ruled may not have been a great career move; even more wrongheaded must have been turning down the offer of management by no less a figure than Brian Epstein. Johnny Theakston at barely 17 years of age, no doubt bitten by the Rock’n’Roll bug at the same time as puberty reared its head, had already by 1960 been playing in a skiffle group for a few years, switching to Rock’n’Roll when the craze for all things Skiffle ran out of steam, calling themselves Johnny Theakston and The Tremeloes, which did not sound quite Rock’n’Roll enough. Shane by all accounts came from the writing credits of a Gene Vincent single, Fenton was the name of a garage that the young Johnny cycled past on his way home from a gig, so Shane Fenton Johnny Theakston and the Fentones were born. Despite their tender years the group, which included pre-Hollies Bobby Elliot on drums, had built up quite a reputation for themselves in their native Mansfield. The young hopefuls sent a demo tape to Brian Matthews of Saturday Club fame, who accepted the group for a studio test in London. Sadly the letter arrived just a little too late for young Johnny, who had just died as a consequence of rheumatic fever he had suffered as a child. the other members were devastated at the loss of a friend and possibly their own opportunity of stardom, and decided to split up. Theakston’s mother felt differently, that they should travel to London to take the studio test in her son’s memory, bringing in another singer to take Johnny’s place, that person being their roadie, one Bernard Jewry, promising not to change the group’s name. Bernard Jewry born 27th September 1942 at Muswell Hill, north London, as a small child moved to Mansfield in Nottinghamshire, where his mother ran a boarding house for touring musicians and entertainers who were appearing locally. Bernard must soon have become infatuated with show business as by the age of four he made his stage debut in a pantomime. Once Jewry had taken over the mantle of Shane Fenton, a Parlophone recording contract beckoned. the first single "I'm A Moody Guy" stopped just short of the top twenty, stalling at No 22. In 1961 the follow up "Walk Away" only just nudged inside the top forty at 38. the same “almost making it” pattern continued with the third single "It’s All Over Now" (no not that one) making 29. 1962 would usher in their biggest hit, a cover of American singer Jimmy Crawford’s stateside hit "Cindy’s Birthday" along with its B side “It's Gonna Take Magic", both sides creating his best known single and biggest hit peaking at 19. After that it was all downhill; all further releases failed 9 to sell in large quantities, breaking up the Fentones who for a while were able to ride on the coattails of the instrumental boom, pioneered in the UK mostly by The Shadows. A solo Shane Fenton in the era of beat groups was destined for obscurity, although an appearance in Billy Fury’s movie "Play It Cool" no doubt helped to raise his profile a little. He moved into music management in the latter half of the sixties as well as performing in a double act around the northern club circuit with his then wife Iris Caldwell, sister of Rory Storm and ex- girlfriend of no less than two of the Beatles, George Harrison and Paul McCartney.
In the early 1970s an opportunity to ride aboard the glam rock bandwagon was offered, and Shane grabbed it with both hands; mistakes had been learnt from during the previous decade. Pete Shelley, one half of Magnet Records, had a song called "My Coo Ca Choo” that he had recorded under a pseudonym; the single took off, he had business to take care of, no time to promote it, he needed a singer. That singer was handed to them on a plate by Fenton’s manager Hal Carter, and so Alvin Stardust was born. Dressed from head to toe in shiny black leather including gloves, a medallion hung round his neck, the image of course was an over the top Gene Vincent (although I don't recall Alvin actually ever admitting to it), laced with more than a little Vince Taylor, and a piece of Dave Berry thrown in. "My Coo Ca Choo" rose to a giddy No 2, and his follow up “Jealous Mind" hit the No 1 slot. He had waited a long time for this success, he certainly deserved it. The third single “Red Dress” shot to No 7, the fourth made No 6 "You You You". For a couple of years he could do no wrong, but by 1975 the records had stopped charting, Magnet and he parted company until briefly re-emerging on Stiff records, the home of Ian Dury, Wreckless Eric and many others, giving them a hit with the oldie "Pretend” in 1981, the arrangement pretty much in line with Carl Mann’s version on Sun Records in 1959. As the eighties wore on he jumped ship again to Chrysalis Records where he achieved moderate success. At the time of his sudden death from prostate cancer he was just weeks away from having an album released, the first in thirty years, which would have brought him back into the public eye and might even have given him a late career high of being an elder statesman of glam rock, particularly as others from that period are either dead, totally vanished or eternally disgraced. Sharp As A Switchblade Paul Barrett Rock'n'Roll Enterprises (est. circa 1960) For all pre-Beatles Rock'n'Roll, coast to coast and world-wide. From the Jets to Crazy Cavan, Jackson Sloane and the Rhythmtones to Matchbox, Wee Willie Harris to The Class Of ’58. With Gene Summers, Roddy Jackson, Linda Gail Lewis, Jack Scott, Ray Campi, Billy Harlan, Charlie Gracie. As well as the Incredible Roy Young and Band, Alvin Stardust, Shane Fenton and, from Germany, the Lennerockers One call, book 'em all. Tel: 02920 704279, Fax: 02920 709989 e-mail: [email protected]
10 Keith Woods calling, gang. As you all know, come 1st February 2015 we shall amazingly be celebrating our tenth anniversary for our 2is Reunion British Rock’n’Roll Heritage Show, of which we asked our readers and loyal show attendees which of over 50 performers who have graced the tales from the woods stage over these past almost nine years you would like to see again on our special anniversary show. The voting was indeed tight, however the name most often repeated is that of the lovely lady from Liverpool in possession of the finest female voice to emerge from British Rock’n’Roll, Beryl Marsden, A couple of years ago TFTW‘s occasional contributor and adviser, expert of all things Mersey beat, Gary Enstone wrote a piece on Beryl for us, which he has kindly allowed us to reprint in readiness for Beryl headlining our 10th anniversary show in early 2015. At the time of just going to press, we conducted an in-depth interview with Beryl as part of our long series of roots music interviews, which we shall be presenting within these pages during the course of 2015. BBC4 has become a sanctuary for music journalism and documentaries over the last few years. This spring has seen the channel explore the mystique of the Album. It's been interesting to note that some musical genres are linked so basically with the album, it'd be difficult to explore the genre without the album. Prog Rock for example, while other genres are nearly entirely singles based. Punk and Northern Soul are often cited as examples, but so would the Merseybeat and British Invasion wave of the mid-60s. The Beatles aside, very few of these acts ever released an album, let alone a credible piece. "Ferry 'Cross the Mersey" by Gerry and The Pacemakers, "Eric, Rick, Wayne and Bob" by Wayne © Paul Harris 2013 Fontana and a number of the early Hollies albums are slim pickings for a genre that rocked the world hierarchy. Merseybeat saw even less in the world of the album. Maybe the guts of those frantic cellars could never really be captured on vinyl, and this may also explain why the scene was so short lived. One of the few credible Merseybeat albums that went just a small way to capture the fun and excitement of that period was the compilation album "Live at The Cavern". Released in 1963, the album looked to give a feeling of the famous cellar club to those not lucky enough to make it there and record for posterity what all the fuss was about. The use of Bob Woolmer as compere for the album gave it some authenticity but it seems odd therefore that a number of non-Merseybeat acts were drafted in to make up the album, maybe trying to give the album much wider appeal. The Fortunes from Birmingham, Bern Elliott from Kent and (most oddly) Joe Meek's fading light Heinz, have tracks on the album. But it's the Merseyside acts that sound the most relaxed, fiery and credible and hence stand out. One in particular stands head and shoulders above the others. Introduced by Bob Woolmer as "Bubbling Beryl Marsden" Everybody Loves a Lover is abound with excitement that epitomises this whole period of the UK music industry. The Borderline gig this year is a long way from the "Live at The Cavern" recording, and a lot has happened since then. Beryl, however, still shows how to belt out a number, and I think surprised many of the crowd with this overlooked act. If you can get a copy of the live album (re-released by much missed See For Miles in the 90s), do so; you won't be disappointed. Better still, get Beryl's first released album. It might be a bit late but by default it becomes one of Merseybeat’s finest releases. © Paul Harris 2013 Considering that Beryl has only just released her first album (“Changes” on the RPM label), she's very cool about the idea. But then on discussing her remarkable story she's very cool about many aspects of her career. In the 60s the goal wasn't to produce 11 recorded discs; "the goal was simply to get to Hamburg and the chance to see Jerry Lee, Chuck, Fats, Ray Charles and Gene Vincent." The possibility of making music on the side was an added extra, not the goal itself. It seems quite alien to think of a performer in such a way, but refreshing to be reminded that many of these early pioneers never dreamt of gold records or million sellers, more the opportunity to perform and be part of a scene. Even now, as we speak days before her return to the London stage and the 2is show, it's the possibility of performing in front of her family that provides the excitement in her voice "to see what Nanny can do" and not the excitement of having her first album available to a wider audience. Her love for American R&B acts is evident by her smattering of recordings and even more so when you discuss her influences, particularly the female acts. It's the soothing sounds of groups such as The Shirelles and not the early British acts that inspire Beryl. "Acts like Susan Maughan were just twee and pretty frocks" and didn't "represent what was going on in the youth and the © Paul Harris 2013 beginning of a revolution." Aged just 15 Beryl began that revolution, performing with Merseybeat legends The Undertakers and Karl Terry before getting her trip to Hamburg aged just 16. She even had the opportunity to sign up with Brian Epstein, an opportunity she turned down but a decision she doesn't regret; "I just wasn't ready." A short recording career with Decca followed, before the Merseybeat bubble burst. But being so young when it all began, Beryl had a chance at a second career. A move to London and a chance to perform at Soho venues such as The Bag O'Nails, The Ram Jam Club and The Flamingo. Her R&B background and influence from acts such as Arthur Alexander got her in with a good crowd, a group of musicians that included Rod Stewart, Mick Fleetwood and Peter Green. With her usual cool, Beryl describes these as a "good combo," but explains they could have been really good if they'd written their own material. Instead they drifted apart and Shotgun Express became just another footnote in rock history. The 70s saw a return to Liverpool, some work with Paddy Chambers and a family. But after sharing the bill with The Beatles and nights in clubs in London and Hamburg it must have been a little strange returning to obscurity, but not one that Beryl would have changed. "I entered the business to perform, I performed for the fun of performing and today it's much the same. I still do so occasionally, but only gigs I want to do. The business today is just that, talented individuals but with too much 'product'. I wouldn't enter the business today." It's a good job she does still come out of retirement for the odd gig, a chance to hear what the excitement of the early 60s was all about, when performing for the sake of performing was the goal. If you didn't catch Beryl's recent 2is gig, do try and get a copy of “Changes” or better still try and dig out a copy of the 1964 "Live at The Cavern" LP; the closest I'm ever going to get to understanding the excitement of 60s Liverpool and one of Liverpool's finest acts "Bubbling Beryl Marsden." Gary Enstone Dear Keith, I consider TFTW 81 to be another excellent edition of the magazine, so well done to you and H and all the contributors. I was somewhat amazed, on reading Ken & Chuck's Dozen feature, to see item 6 referring to the Britannia Coco-Nutters being mentioned in the Wall St. Journal this year. The small Lancashire town of Bacup, of which Britannia is an outlying district, is just seven miles south of Burnley, so I have witnessed this rather unique dancing troupe's splendid routines on several occasions. Their precise history is somewhat unclear, but they have been active for over one hundred years. According to tradition they blacken their faces as a disguise to ward off evil spirits and/or due to a historical connection with the mining industry. The main event each year in the Britannia Coco-Nut dancers’ calendar takes place on Easter Saturday when they dance through the streets of Bacup for several hours, accompanied by a local silver band. This is a fine spectacle which draws crowds to the local hostelries which they pass, and one which would, I am sure, be of interest to those Woodies who value many of the customs that exemplify our wonderful cultural heritage. Lee Wilkinson 12 Tales From The Woods In Association With Radio Sutch Presented on Sunday 28th September 2014 At the Dublin Castle, 94 Parkway, Camden Town, London, NW1 7AN An exciting night of Roots Rock’n’Roll, Rhythm & Blues and Rockin’ Blues with the Fabulous Earl Jackson Four and Smiley Jacks, plus Deejay Wheelie Bag, with his slightly dodgy Dalston Dancing Girls! Tony Annis, Images & Articles, Portobelloland (Part 1 of 2)
The amazingly warm September weather was still continuing as my friend and helper Diego Palazzo and I came up to this famous music venue in Camden, with people sitting outside in the last of the Indian summer, which is being said has been the best since 1910 when records began. Arriving early at the sound check time, a habit I always follow after a lifetime of working in TV and film; rehearsal/sound checks allow me to mingle and network and get a general feeling of the place as well as the musicians. This is the only time available, as their gear is being set up by themselves and the roadies, the only time to grab a one to one and have a conversation with bands. Keith Woods from TFTW greeted us at the door and took us through the big bar into the venue at the back. Here I was pleased to meet DJ Denis Hoare, from Radio Sutch, who was also recording this for a future show. Denis has two shows a week on Radio Sutch and this one was for the TFTW hour, Wednesday nights at 9pm. The two bands started to arrive and even before I had time to speak to the two drummers, they did their own deal, by sharing one kit between them, musicians helping themselves and the fans by shortening the changeover resetting time. Earl Jackson was a fun and gregarious man, very friendly and I enjoyed this anecdote from him. His guitar was a replica of a Gibson ES 355, a cheaper but excellent ‘Richwood’ guitar but as Earl Jackson said, “I’m not working and rocking all over the stage with a three grand guitar in my hands and with the chance of knocking or dropping it”. Earl and Chuck Berry are two clean, mean, black, classic Rock’n’Roll guitarists, who are entertainers who wow a crowd with humour, presence and personality as well as their music. ‘Smiley Jacks’ have been on Radio Sutch, and they also have a very good CD out (from Raucous Records) which received a very good review from Pete Gold. Iain Terry filled in very well for the TFTW Band last January in the absence of John Spencely in the ‘Joe Meek Special’. Some of the numbers played, ‘Cadillac 55’ title track, ‘The Dark Side Of Town’, upbeat and with added harmonica, ‘Walking The Dog’ and harp in some numbers; I really liked that but then I love that instrument! A good upbeat version of ‘Down The Road Apiece’, included harmonica. Iain Terry, guitar, stand up electrified bass, PJ, Les on drums and harp and vocals, newer member Martin an excellent addition to the group.
13 This very good band got the feet tapping and the jivers hit the floor. A very good jive couple danced the night away proving great fitness as well as great talented jive routines. Spotted in the place as it began to fill up were Danny Rivers and his wife in the crowd, who I always have a good joke with, “If we wake up alive, it must be a good start to the day” and we give each other a good man hug, until the next time we meet. Also saw Claire Hamlin, that very talented keyboard player, who plays for the TFTW Band, as well as other bands. The interval resetting had Deejay Wheelie Bag playing his huge rare selection of Rock’n’Roll and garage vinyl 45s, with his dancing girls a-whirling around as well-known writer and DJ John Howard watched and looked on – interesting end to the first set! Sound engineer Fuzz buzzed about as the roadies reset for the second half. A pint of excellent real ale came into my hand from my friend, Diego. It started to go down my parched throat a real cool treat. Spotted Woodie friends around and about the venue; Ken Major, Alan Lloyd and others, remembered it was Keith Woods’ birthday, so said hi and wished I was that young again! Saw Dee Jay talking to the stage manager Cliff Stevens who, in 2001, played his light show and disco in No 10 for the Prime Minister’s Christmas party. Cliff had a signed letter of thanks from Mo Mowlam. Also wanted to catch up with Monica Madgwick from www.boogaloopromotions.com; her organisation represents Earl Jackson as well as many other groups. Monica puts on many weekenders all over the place. Not only very efficient but a very, very pleasant and gregarious woman who I was delighted to talk to. Conversation finished with Monica as Wheelie Bag and his dodgy dancing girls from Dalston started whirling and the great sound of his vinyl rocking records filled the venue. Also managed to chat to P J Johnson, Smiley Jacks’ drummer, about having a matched pair of Zildjian high hat cymbals back in the day, when I was a teenager, and my 20 inch ride cost £1.00 an inch! Earl Jackson, guitar, Robin Lowrey, drums, Joe Glossop, keyboards and bass Emil Engström, came on stage and the dodgy girls from Dalston and Wheelie Bag faded out as Earl’s combo came out rockin’. “Back In The USA”, “Flip Flop And Fly”, had the dancers on the floor again and the medium sized crowd tapping their feet. I’m sure it would have sold out but for the £20.00 per head on the door, in these austere times, a bit too high a price to pay! “Route 66”, “Kansas City” and I loved “Howlin’ For My Baby”. “You Never Can Tell” I remember from that brilliant dance scene with Uma Thurman and John Travolta in Quentin Tarantino’s enthralling film “Pulp Fiction”. More numbers from his great set “Have Love Will Travel”, “Nadine”, “Fanny Brown”, “You Can’t Judge A Book”. My friend Diego was getting carried away and wanted to join the Tales 14 From The Woods Roots Music Social Networking Group and also wants to come to the massive gig on Sunday 1st February 2015 at the Borderline. For more information on this, check with Maggie Sampford or Keith Woods. Spotted Gerry Champion near the back, small man big voice, about the same age as Wee Willie Harris, and also has a very good presence on stage. “Leave Me Alone” and “You Keep A Knocking” racked up the excitement, especially as the jivers twirled, and they had danced the whole night long. Made me want to put down my camera and grab a girl to jive with myself… bad knee or not! Fans stomped their feet and Earl Johnson, who has a wireless guitar, jumped down from the stage and did the ‘Duck Walk’ as that “Johnny B Goode” classic rocked on, he moved through the crowd all the while playing his guitar and that was the high spot of this very good gig and what a very good night out in this famous music venue, with real ale: the Dublin Castle.
Hello Keith I suspect that there are a few people on your mailing list who missed a really good night. Earl Jackson is an extremely talented young man and put on a great show as did Iain Terry and Smiley Jacks. If that wasn't enough, the venue, unlike The Borderline, served a decent pint. What more could a man ask for? Thanks for getting it all together. Regards Malcolm Bland
Hello Keith Thank you very much for a fantastic night, a great gig, been a long time since l enjoyed myself. Many thanks David Woodland
It was a great night Keith. You should bring him/them back soon! Chris Hodgeson
Hi Keith I really enjoyed Earl Jackson Four. Great show. Thanks for all your hard work in putting the gig together. Brendon McGuinness
Thanks Keith great to see you! and a fantastic night. Cheers, all the best Kevin Blackmore
15
Been supermarket shopping lately? You may have heard that German giants Aldi and Lidl have been stealing market share from the UK's big four, Tesco, Sainsbury, Morrison's and Asda. It is claimed that the response of the Brits (anticipated profit margin 14 per cent) is they plan to lower their prices to compete with the Krauts (anticipated profit margin 4 per cent). Well, my local Morrison’s is competing in other ways with the Big Two, known not to have complete ranges in stock all the time. The last time Mrs Angry was there they had neither bread nor eggs, leaving my dreams of a fried egg sandwich in tatters. And as one of the 22 per cent of UK males who enjoys a gasper, I have found another worrying trend in Tesco, Sainsbury’s and Morrison’s. Ask for 20 cigarettes and you well be given a packet of 19. The fact there are only 19 fags in a familiar packet is only revealed by the cellophane wrapper - the cardboard packet gives no indication of the number within. Take it as read there is no reduction in price. Supermarket staff, known for their room temperature IQs, seem not to have been told and, when informed by me, seem to care less. I can't be bothered to schlepp all the way to my local Trading Standards office to report them, but you'd think the Weights and Measures people, if not the police, would be interested in blatant fraud. Like 50 per cent of the British population I do my major cigarette and tobacco shopping in Belgium, since I can't be arsed to drive to Luxembourg where tobacco products are even cheaper. So stick that in your pipe and smoke it. * * * * * * * * Criticism has greeted US President Barack Obama's plan to fly huge quantities of the vaccine Zmapp to the IS held town of Mosul rather than to West Africa where the Ebola epidemic is at its worst. He claims that Mosul is closer to Liberia than Calais saying: “West Africans seem to have no trouble getting to northern France, and I would suggest this is an easier journey.” As to fears that members of the extremist Islamic State who have made headlines by decapitating aid workers who have come to help them, could become infected by an influx of plague victims, he added: “It is my understanding that Arabs are immune to Ebola, so they should have no fears on this score. And, in any case, should that prove not to be the case, then the vaccine will be stored close to them.” 16 Early Musical Memories Apart from ‘Rock Around The Clock’ by Bill Haley & His Comets, and a few Elvis Presley numbers, I don’t recall hearing much Rock’n’Roll in the 1950s, no doubt because we didn’t have a record player or TV, only BBC radio. I didn’t start listening to the poor reception from Radio Luxemburg till the early 1960s. Consequently the songs I remember and associate with the 1950s come from the likes of Alma Cogan, Michael Holliday, Doris Day, Patti Page and a host of other singers, the names of most escape me or I never even knew them. Many were ‘novelty’ songs like ‘Where Will The Baby’s Dimple Be?’ or the similar ‘Twenty Tiny Fingers’, or indeed probably the most famous ‘How Much Is That Doggy In The Window?’. We’d sing along with many of these songs at the ABC Minors’ Saturday Morning Picture Club, with a man known to us as ‘Uncle’ someone or other on the old Wurlitzer organ. The old songs flood through my memory, and I can still sing the refrain and some of the words: ‘Poppa Piccolino (From Sunny Italy)’, ‘I Love To Go A-Wanderin’’, ‘Gilly Gilly Ossen Pepper’, ‘The Railroad Runs Thru The Middle of The House’, ‘Over The Mountains (Over The Sea)’, ‘Wonderful, Wonderful Copenhagen’, ‘I See The Moon (The Moon Sees Me)’. etc.. I may have some of the titles wrong, never saw them written down. There was Michael Holliday’s ‘Catch A Falling Star’ which we changed in the playground to: ‘Catch a falling Sputnik, put it in a matchbox, send it to the USA’. This would have been in 1957 when the Soviet Union beat the Yanks into space with the first satellite in orbit. The craziest of them all was a thing which began: ‘Shut the door, they’re coming thru the window’ about some unknown invaders of a house who were hanging from the ceiling and were everywhere. Sadly the man with a railroad going thru the middle of his house gets run over by a train as that’s where he’s singing the song. The words to ‘Rock Around The Clock’ were learnt in the school playground, but a rare opportunity to hear Rock’n’Roll for me was when my friend Peter Wiseman invited me back to his home in the lunch-hour to hear Elvis’ ‘Jailhouse Rock’ EP. He told me about Little Richard’s ‘Keep A-Knockin’’ record which he bought, but I never heard it at the time. I’d never even seen a 45 record till Peter showed me his collection, and I was amazed you could bend them without them cracking. I’d only known 78s up to then. I also heard some Rock’n’Roll when we had end of term dances at school and the girls would bring in their latest records and dance with the teachers (the boys never seemed to get involved, so different to American colleges where they have High School Proms with boys dating girls.) I remember them playing Everly Brothers singles, and some instrumentals by Johnny & The Hurricanes at these dances. A boy at college was always singing ‘Be-bop-a-lula’ which meant nothing to me as I’d never even heard of Gene Vincent, Jerry Lee, Chuck Berry or a host of other rockers. Even British rockers got little airplay on the BBC radio. ‘Needle time’ was very restricted, so most recorded music played was for families, for children or was classical. However in the 1960s I got a record player eventually and started catching up on what I’d missed just as The Beatles and British groups were starting to sweep the old Rock’n’Roll and early 1960s dance craze records off the charts.
One of my favorite British Rock’n’Roll records is the instrumental ‘Hoots Mon’ by Lord Rockingham’s XI. I love the Scots spoken dialog in the middle ‘there’s a moose loose aboot this hoose’ and ‘it’s a braw bricht moonlicht nicht’. I believe there 17 was a similar follow-up as I remember the line ‘wee Tam and a wee broon coo, Tam said ‘”who?” and the coo said “Moo!”’ They dinnae write lyrics like that anymore, even in bonnie Scotland! I also have a compilation album ‘Battle of the Bands’ from 1971 which includes several British artists plus Gene Vincent and Merrill E. Moore. I love the version of the old Scottish song ‘A Wee Dock’n’Doris’ by the Red Price Band, very similar to the Lord Rockingham’s XI singles: ‘There’s a wee wifie waitin’, in a wee Butt’n’Ben, but if ye say it’s a braw bricht moonlicht nicht then ye’re alricht ye ken!’ I probably like these Scottish Rock’n’Roll songs because my partner came from Glasgow. Haley’s ‘Rockin’ Thru The Rye’ and ‘Rock Lomond’ also greatly appealed to me for similar reasons. Even though my partner spoke with a London accent, the in-laws (out-laws?) all speak pure Glaswegian slang a-la Rab C. Nesbitt. I’d get scolded by my partner when I started picking up some of this slang as I tend to get very influenced by accents. He said he escaped from Glasgow to get away from all that dialect, though Edinburgh’s accent was far more refined, as spoken by Maggie Smith in ‘The Prime of Miss Jean Brodie’, one of my partner’s favorite films. My very first musical memories are from the 1940s and very early 1950s when we lived with my father in a rather posh flat in West Hampstead, and had a radiogram with several 78s. ‘Walkin’ My Baby Back Home’ was one of the records, which at my very young age I never understood, thinking the father was making his little baby walk all the way home. Child cruelty came into my mind! My favorite was Khachaturian’s ‘Sabre Dance’ which I would bop around to. My mother is convinced this is the record which later got me interested in 1950’s style Rock’n’Roll. I also remember going down the escalator to John Barnes’ department store food hall in the late 1940s/early 1950s and hearing the latest hit of the day over the tannoy: ‘Ghost Riders In The Sky’. Doris Day’s ‘Que Sera Sera’ was yet another of those early 1950’s songs we were always hearing. I like the Lily Savage (Paul O’Grady) version: ‘When I was but a little girl, I asked my mother what would I be. Would I be pretty, would I be rich, here’s what she said to me: “How the bloody Hell do I know? Asking me damn silly questions while I’m trying to watch Corrie and Ena Sharples is trapped in the Mission under the collapsed viaduct. Here’s a quid – go down to the offie and get me 20 fags and some cans of beer for your father”. Que Sera Sera, what will be will be.’ Tony Papard To be continued
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18
American Music Magazine goes from strength to strength. Following last year’s superb in-depth feature on the Home of The Blues record label, written by the much missed Tony Wilkinson, this year’s September issue (#136) returns to Memphis for a wonderful feature on Lester Bihari’s Meteor Records, an iconic label loved by both blues and rockabilly fans. Eruditely written by the renowned Martin Hawkins, Martin has augmented his own research with input from fellow experts John Broven, Jim O’Neal and Dave Sax. The article will surely stand as the definitive testament to the label. The crammed 56-page feature starts with the story of the label followed by a detailed analysis of every Meteor release accompanied by rare photos and biographies of the artists concerned. There is also a wonderful array of label shots in full colour. One subscriber wrote: ‘the Meteor Records in the current edition of AMM is absolutely terrific’. The icing on the cake for Woodies comes in the shape of a review written by John Howard of April’s TFTW ‘Joe Meek Special’ held at the Borderline. Woodies wanting to purchase a copy of this highly recommended issue should contact Dickie Tapp at [email protected]. He is AMM’s UK representative. Dickie has copies on hand and can advise how to obtain a copy. Non UK readers can contact AMM direct at [email protected]. One last thing, please watch out for the December issue of AMM which will carry another exemplary ‘record label’ feature, this time on Mira Smith’s RAM Records out of Shreveport. A label close to many of our hearts through our friendship with Alton and Margaret Warwick - prime ‘movers and shakers’ in the story. It is written by Dominique Anglares and Ken Major, and again is extravagantly illustrated.
19
I, of course, am totally relaxed about the army of would-be immigrants attempting to storm cross- Channel ferries in order to reach the UK and its inordinate benefits available to incomers. Not so my friend and colleague Norman Lemming, who has produced this handy guide which he has been handing out in the Pas de Calais region.
Cross Channel Swimming for Beginners (available in Eritrean, Farsi, Bengali, Gujarati, Urdu, pidgin, Creole, French, Arabic, Cantonese, Mandarin, Igbo and Tagolog)
Surprisingly, many of the hundreds who have successfully completed cross Channel swims have not been particularly strong swimmers. The twin secrets of making the 21 mile journey are mutual support and the chosen jumping off - or diving off - point. Calais port is not the closest point to mainland Britain. Instead that lies just a few miles west of the port, at Cap Gris Nez, from where the white cliffs of Dover are clearly visible. This is just an hour's walk along the A16 autoroute and is clearly signposted. It is better to walk on the right side of the motorway, so motorists can see you clearly. Before embarking on your first swim, find a waterproof plastic bag into which you can place all your belongings. Ideally, trap some air in the bag as well, since this will provide a buoyancy aid should you wish to rest during your crossing. Support should also come from your fellow swimmers. Do not attempt this swim alone, but alert as many of your colleagues in Camp Jungle as to the date and time of your proposed swim. The more people swimming equals more mutual support, as the stronger swimmers support the weaker. And do not worry about the huge ships that use these busy shipping lanes. The Rule of the Sea insists that swimmers have priority over powered vessels, and they will all give way to you. Just think, you are mere hours away from three meals a day in the 4-star Hotel Grand Burstin in Folkestone, and benefits that are the envy of those unfortunate enough to be born and raised in Britain. Seize the day, and start swimming now.
20 Famed and highly respected musicologist Cliff White took time out to share memories and anecdotes of his long career in the music industry with us here at Tales From The Woods at the private upstairs theatre of the Kings Head pub in Marylebone, the latest of what will be a long running series of interviews conducted exclusively by and for Tales From The Woods. Long time Woodie Cliff is a personal friend of many of our members, a considerable number stretching back many decades.
We have Cliff White with us today. I remember back in the nineties we were at the 100 Club, though I can’t remember the band we were seeing… I’m glad you said you can’t remember as I’m going to be like that throughout the interview. I was there before you and as you came down the stairs the band recognised you immediately. The sax men nudged each other and whispered, “It’s Cliff White… it’s Cliff White”. That gives some idea of how important you’ve been in the music industry over the years Cliff. I wouldn’t put it that way, probably one of the few bands in London that knew me. I knew the Darts and a few other of the club bands but I can’t think who it might have been either. Cliff, do you recall when you first became interested in music? I do. It was with the advent of Rock'n'Roll and it was only because I used to knock around with my cousin a lot in those days. I was born in November 1945 so I was only 10 or 11 when Rock'n'Roll broke in this country and I would have missed it but my cousin Richard, who is two and a half years older than me, was already into it from Bill Haley on through the 1950s. He was an avid record collector, buying records with his pocket money and a paper round until eventually he got a proper job. It was all the big names, none of the rarities we grew to know in the '60s and '70s. Bill Haley, Jerry Lee, Little Richard, Buddy Holly, Eddie Cochran, Carl Perkins, Fats Domino, Gene Vincent, so I was introduced to all those. He was really good to me; I suppose I was like a younger brother because we used to spend a lot of time together. We lived on opposite sides of London but mainly during school holidays I spent a lot of time with him and he’d let me thumb through his collection and play the things. I was already an avid list maker by then and I had books where I’d write everything down with an emphasis on US recordings to investigate when I could afford to. I didn’t actually start buying records (and then only what few pocket money would allow) until 1960. Listening to the radio I’d write down records I’d heard and as the fifties went on I even had my own charts; how many times I’d heard Cliff Richard’s ‘Move It’ on the radio or Marty Wilde. So that was my introduction to music but it was strictly what I’d heard. I listened to Radio Luxembourg and found the American Forces Network a couple of times and until the early '60s that was all I really knew. By the early '60s I had several books of lists and I was also buying the NME and the New Record Mirror. I used to write down all the record releases and the ads in NME particularly, which had the label and the record number, so I started catalogues of each label which was what helped me later on when I went for the job at HMV. I recall one of the questions when I was interviewed was did I know the prefix for Decca singles and I said, “Yes, F”. 21 So what age were you at this period of time? I was 15 by 1960 and I left school in 1962. Was there any family background of an interest in music? There was but it was quashed. My mother had been a recital pianist when she was young before she was married and I’ve got a couple of silver medals in a box and a great stack of sheet music in the cupboard and there was always a piano in the house, well, during the fifties in the council flat but for some reason my dad just pooh-poohed it. I didn’t get taught piano which I regret now as I would probably have been taught soft recitals but would have ended up playing like Jerry Lee. I was only about eight or nine when I realised my parents didn’t really get on and they split up by the end of the '50s which is relevant to something later on. So, no, I didn’t get taught any instruments unfortunately. Upon leaving school you determined a career associated with music? Eventually, but I didn’t actually start off like that. When I left school I went to work for stockbrokers in the city and I worked in the accounting division. I was there for nearly two years because it was relatively good money for a youngster in those days. After a while I thought this is silly because I’m spending all my money on records and, when I could, going to clubs in the evening to see bands so I really needed to get into the music industry. In ‘64 I wrote to all the record companies I could think of, and there were only about five in those days, EMI, Decca, Pye, Oriole, Ember. I got interviews at EMI Manchester Square to work in their record library which sounded fascinating and at HMV to become a salesman. I was offered both jobs and I took the HMV one as it sounded a bit more lively, which it was. It was ‘64 and not only did I get the job at HMV, the amount of gigs I saw, the number of clubs I was going to, suddenly blossomed. So what was I then? 19, although I was lucky to discover Rock'n'Roll when I was young because of my cousin, I didn’t really get into it until about then. As a teenager you were around in the glory days of London’s music scene, all the music clubs like the Flamingo, the Scene, the Marquee. There was also the 100 Club which, the first time I went there, was known as Jazzshows Jazz Club but later changed its name to the 100 Club. I knew it was called Mack’s back in the fifties. The Scene was renowned as a mod’s club but once a week Guy Stevens was the DJ there. He attracted basically rockers who had also discovered blues, R&B and soul music. My first visit to Guy Stevens’ R&B night at the Scene club was in June 1964 where I met many like-minded music fans such as Bill Millar and Ken Major. The 100 Club, Tiles in Oxford Street (when I first went to the Marquee it was in Oxford Street and I think possibly Tiles was on the site of the old one), the Flamingo and above it Whisky A Go Go (but that was a bit later I think). There were a few others that were more discotheques like Gullivers in Mayfair and the Cromwellian in Cromwell Road. I did see Clyde McPhatter at the Cromwellian but it was a very sad evening as he wasn’t in very good vocal shape compared to his famous records and, apart from myself and a friend I was with, nobody seemed to know who he was or could give a damn, all just chatting amongst themselves. Then there was the Club Noreik in Seven Sisters Road, the Black Cat Club which was Woolwich I think, Ram Jam Club in Brixton, the Q Club in Paddington but I only went there once or twice; that was a black owned club but I went there when Screamin’ Jay was on. Then there were more far-flung ones and later on, by the time you get to the late sixties, there was the UFO originally in Tottenham Court Road which went to the Round House, the Music Machine in Camden and Dingwalls.
22 There must have been hundreds of artists you witnessed at that time. The first gig I ever went to was the NME Poll-Winners Concert in 1961. It was at what was then known as the Empire Pool, now Wembley Arena. Top of the bill was Cliff Richard and the Shadows but Lonnie Donegan was on, the special guest star from America was Connie Francis, The Allisons (do you remember them?) with ‘Are You Sure?’ They did a show for us at the Borderline. In other words I’d missed Jerry Lee’s first tour, I’d missed Bill Haley’s first tour, I’d missed Buddy Holly, Eddie Cochran, Gene Vincent when they first came over. The next major concert I remember was Little Richard and Sam Cooke in 1962. Then I started going to the Marquee to see Cyril Davies, Long John Baldry; well Alexis Korner was the leader of that lot but then you’d occasionally get guests like Sonny Boy Williamson when the blues artists started coming over in the '60s. People like Big Bill Broonzy and, I believe, Muddy Waters, had been over in the '50s. But the main influx was in the '60s. Also the resurgence of '50s rockers, Jerry Lee in particular, and the emergence of great soul singers like Solomon Burke and Garnet Mimms. I was not a big fan of British pop or R&B but for some reason I always liked the Stones although I didn’t like the Beatles at that time until I got into my psychedelic period which coincided with theirs. But I did like the Stones and I saw a few other British groups, mainly the Alexis Korner spin-offs because they were often accompanying American blues artists. So the Stones, where did you see them? I saw them at Club Noreik in Tottenham for £1 which was quite expensive for 1965. I first saw them in 1963 at a so called jazz show in Richmond and I think they were the only rock- type act on. They were bottom of the bill I think, it was a month or two after ‘Come On’ had been released. They weren’t on the main stage but in a side tent - it was mayhem, full of screaming girls and the tent was rocking and shaking. By the time I saw them later on they were heading the bill over the Ronettes on a national tour, and later Ike and Tina Turner at the Albert Hall. Those acts I believe (unless it was all Mick Jagger bullshit) were on their shows at their request. I saw them in the seventies in west London somewhere and they had the Meters from New Orleans on as their support act and I knew that they’d definitely asked the Meters to support them so it was probably true about the others. They also asked for Howlin’ Wolf to appear on Shindig in America with them. I wasn’t there at that one! We’ve hardly touched on it but at that time the British promoters realised how lucrative it would be to bring over black R&B and soul artists from America so it was just a succession of them. Screamin’ Jay Hawkins of course was a main part of my life. Bill Millar and I, with the guys from R&B Scene mag (Roger Eagle and, er, Neil Carter?) who had instigated his tour, went to London airport to meet him when he first arrived in 1965 and he was a day late. He turned up the next morning and came out of immigration in full regalia, with his cloak and hat and everything. He had this flash powder which, with every puff of his cigarette, it would flare into the air so he came out of immigration, went whoosh and set his beard alight! I stuck with him for most of his tour. Either on that tour or his ’66 tour (although I think it was probably the ’65) I saw Jay at the Twisted Wheel in Manchester but I saw him at all sorts of other peculiar clubs around London and the south east so I got to know him fairly well and even more so after my brief stint in Germany. We haven’t covered it yet but after HMV I went to Germany for three months and when I came back I again toured round with Jay and we became quite good friends. It must have been quite a riot being with Screamin’ Jay Hawkins.
23 Well it was and it wasn’t. He was naturally a flamboyant and eccentric man but he would accentuate that in public sometimes. I remember in one of the hotels he frightened the life out of one of the cleaning girls who came to see to the room. He ran out with a bag of rubber bands throwing them in the corridor screaming “Worms!”… but he didn’t do that every day. I saw Screamin’ Jay Hawkins at the Cooks Ferry Inn and then again, many years later, at the Town & Country Club. That would be in the 1980s. That was the last time I saw Jay, he appeared there twice. I went to both performances and then he moved to Paris and I never saw him again. I don’t think he came back to Britain after that. He had quite a renaissance in the late eighties with the two shows at the Town & Country Club though I can’t remember who backed him at the Cooks Ferry Inn. He had a group on the ’65 tour called The Blues Set but I can’t remember myself who it was on the ’66 tour. You told me a story a long time ago that you were in the audience at the Flamingo to see Bill Haley… That was the Flamingo, a strange venue for Bill Haley and the Comets because they could barely fit on the stage and the place was packed. I can only remember two or three times when it was so full; I think John Lee Hooker’s first appearance was much the same. At the Haley gig, condensation was dripping off the ceiling, we were all packed in and jostling about and I sort of bumped into this guy next to me, turned to say “I’m sorry mate” and it was Gene Vincent. I was scrabbling in my pocket for a bit of paper to get his autograph and he said “No, later man. The star’s on stage”. By the time the show had finished, Gene had disappeared so I never did get his autograph. We’ve talked about the Scene and the Flamingo and all that was happening in London at that period of time so let’s move on a little bit to the time when you briefly joined a band. I’d left my first job at the stockbrokers, I was there from April 1962 to June 1964, I’d written to the record companies and got the job as a general salesman downstairs at the original HMV record store, 363 Oxford Street in October 1964. In the meantime my cousin had got a beat group together. In 1965 they cut a record for Ember and also toured Germany. Ember, however, decided they would only sign the singer and rename him from Graham to Marcus Tro, ridiculous name, while the group was renamed High Society. They did this first tour of Germany and had a second one booked for January to April 1966 but now they didn’t have a singer. I used to go to their rehearsals and bring along the latest R&B and soul singles for them to add to their repertoire and Richard said, “We’ve lost Graham and we’ve got this tour coming up. Do you want to come and sing with us?” As I’ve said to everybody over the years, I use the term ‘sing’ loosely as I sounded like Mick Jagger on a really bad night and that was after I'd learned to sing in tune. When I started off I couldn’t even hold a tune. The Stones were very big at that time and we used to do two or three Stones numbers but we also did quite a lot of R&B stuff. I remember we’d do Rufus Thomas’ ‘Jump Back’, Lee Dorsey’s ‘Can You Hear Me’, would you believe James Brown’s ‘Out Of Sight’ (we didn’t have any horns or keyboards), ‘Hang On Sloopy’ which had been made famous by the McCoys but it had originally been ‘My Girl Sloopy’ by the Vibrations. There was one gig we did in Kassel in February 1966 which was a USAF base, still segregated in those days so all the white GIs were at the front of the audience and the black GIs were at the back. After each song, if it was an American R&B number, I’d say “That was ‘Can You Cliff on stage somewhere in Hear Me’ by Lee Dorsey” and there’d be a cheer from the black Germany in 1966 guys at the back and when we did ‘Hang On Sloopy’ I said “That was ‘My Girl Sloopy’ by the Vibrations” and there was another big 24 cheer from the back as everyone else thought it was by the McCoys. I also used to do ‘Hey Bo Diddley’. Ironically my cousin was a better singer than I was and he did sing two or three numbers but he wasn’t comfortable at the front, or maybe he wasn’t comfortable singing and playing guitar at the same time, I don’t know. He had an appealing, Gene Vincenty kind of voice. He did a cracking version of Vince Taylor’s ‘Brand New Cadillac’ but he did it in the style of ‘Shaking All Over’. Anyway, I’d already told them I was going to come home in April when Screamin’ Jay came back to Britain with the theory that, after Jay’s tour, if they carried on in Germany as they were doing alright, then I’d go back to join them again. However, my cousin had an old Commer van which broke down. It was almost impossible to get parts for it in Germany; I think they had to have a new engine shipped out from England. Also they couldn’t find a suitable new singer so while I was on still on tour with Jay, they split up and all came back to Britain and got sensible jobs and I went back to HMV until sometime in early ’68. Until then I hadn’t smoked and was barely into alcohol, I might have a pint or a half when we went to a pub and that would last me all night. But there was a university student working as a temp at HMV during the summer who introduced me to marijuana and not long after that through a friend of a friend I met a young woman in west London who introduced me to LSD so it all got a bit hazy for a while. I left HMV, not under a cloud, I actually left, I wasn’t sacked and then it was a strange period for a time. Between the late sixties and the early seventies I worked as a forklift truck driver for a carpet warehouse in Fulham. Then I worked for Kodak in Harrow and an engineering company in Bletchley - the reason I was in Bletchley was for a personal relationship. I was still fully gripped by music and still gig-going, including the two major Isle of Wight festivals (Bob Dylan and Jimi Hendrix), Stones in the Park, Rock’n’Roll at Wembley, Howlin’ Wolf, Jackie Wilson and Johnny Otis at the 100 Club. I didn’t think Little Richard was very good at Wembley but the others were pretty good which is a shame as he’d been blowing it throughout his career. His Specialty recordings were one of the reasons I got into the whole lunacy thing in the first place but apart from that he’s rarely made a good record. One or two of his gospel things were pretty good, ‘He’s My Star’ is a beautiful, beautiful song and one of his soul things ‘I Don't Know What You've Got, But It's Got Me’ but apart from that he’s rarely cut a decent record which is a shame. During this period Bill Millar got married and I was his best man, my father remarried and I wasn’t his best man, my mother’s brother, my uncle Walter, was killed in ’72 on a zebra crossing by a reckless driver out in Ealing near where he lived, my mother had a stroke and she died the following year. The reason I mention all this is that Walter left my mother a bit of money and that then came to me. It was only about £2,000 but we’re talking 1974 now, so that enabled me to leave the engineering company to try to pursue a writing career if I could sustain it. Also I buggered off to America for a month. I’d got back into James Brown by then, having sort of lost track of him during my psychedelic period when I was more into Hendrix and Dylan, so I went down to Augusta. James was on tour but his cousin Freddie Holmes took me round Augusta, showed me where they went to school, the area they grew up in and all of that. I then went to visit other friends and by the time I got back to New York, James was on at the Apollo and Freddie had said if I came to the Apollo he would get me in. It was autumn 1974 and the Payback tour - for my taste ‘The Payback’ is one of the last great records he made after ten years of dominating American black music. That was the last killer record and it was a sensational show to be at the Apollo to see him. I remember talking to Charlie Gillett who saw him at the Apollo in 1962 and Bill Millar saw him in London in 1966 but that coincided with the time I was in Germany so I hadn’t seen JB much up until then. I saw him in ’73 at the Rainbow, which was the first time I saw him and I did a Stage Door Johnny type thing… I hovered outside the stage door and when he turned up I just said “Hello Mr Brown, I’m going to write a book about you one day”. At the Apollo Freddie Holmes got me backstage after the show which was sensational and the audience went absolutely hysterical. 25 It was an all-black audience apart from me, a guy from a Swedish radio station and Mick Jagger with Ahmet Ertegun; the rest was the usual local Apollo crowd. A fantastic show. Anyway, when Freddie got me backstage James remembered me, or claimed he did, from the year before and each time after that when he came to Britain he was always happy to see me and we got on really well. Was that when you started writing the book about James Brown? No, that wasn’t until 1990 and I never finished it but I had started my freelance journalism career. I’d written one or two things for a specialist fanzine called Shout which I think Clive Richardson edited at the time and one of the big publishing companies that produced Melody Maker launched a monthly magazine called Black Music in December 1973, announcing the launch in previous issues of Melody Maker. I wrote to the given address and said that black music was my thing and I’d really like to work for the magazine. I didn’t get taken on the staff but they said if I wanted to submit articles, if they liked them they’d print them and, more to the point, pay me for them, unlike fanzines. I started then writing for Black Music magazine and it got quite regular; it was a monthly and I usually had an article in there most months. That was during 1974 and through writing for Black Music magazine I then got a phone call from NME (New Musical Express) asking if I’d like to write for them as they’d seen my stuff. I was able then, just about, for most of the seventies, to earn a crust and sustain myself as a freelance music journalist. I joined the NUJ (National Union of Journalists), Val Wilmer (the noted jazz and blues writer) bullied me into it. I wasn’t a strong unionist although I went along to a couple of meetings of the chapter in Fleet Street where it was mainly a debate about whether we were going to support the Chilean miners and I couldn’t see what that had to do with anything, although I am and always have been left of centre with my politics. The point is I was a freelance journalist and although you didn’t earn a lot, even getting the NUJ minimum per word or paragraph, the perks included free records, free entry to gigs, intermittent free lunches with record company Press Officers (who were desperate to find journalists to take to lunch as it meant they got a free meal on expenses) and the odd free trip to the USA. This was the period, particularly ‘75/’76, when record companies were still spending lavishly on press receptions before they gradually had to rein it all in. It was just a magic time for me although it was always hand to mouth financially but I got to meet so many of the artists I wanted to meet, I got to talk to them and get on a friendly basis with many of them. At root I was most fascinated to explore the music that I had grown up loving and grown older enjoying - US Rock’n’Roll, blues, R&B, soul into funk and some forms of disco and to see the artists perform live and, when possible or convenient, to meet them and interview them about their careers. That was the principal motivation. During my six years working as a freelance music journalist I guess I must have interviewed over 100 artists, from elderly blues men to contemporary hitmakers, and attended as many diverse gigs. Some of the gigs were duff, so were a few of my interviews, particularly my meetings with Barry White and with Michael Jackson. Generally, though, I struck up a good rapport with the majority of artists I talked to, and many of the gigs were great. There was one tour I remember in particular in November 1975 that never came to Britain. It was instigated by a German blues fan and sometime promoter named Norbert Hess. I saw it in Berlin and Paris. It then moved on to Spain and I came back to Britain and wrote about it for NME. Top of the bill was Bo Diddley, second was Johnny Guitar Watson, third was Screamin’ Jay Hawkins, fourth was James Booker, fifth was Katie Webster and the backing band were all names in their own right like Panama Francis on drums. A Chicago blues guy on bass was the only one With Johnny Guitar Watson at who didn’t fit in as he was strictly basic blues and backing the DJM Records reception, November 1978 likes of Bo, Johnny Guitar and Screamin’ Jay he had trouble keeping up. It was an incredible tour and I stayed in the same 26 hotels as the guys and got to know them. Jay I already knew and I got to know Johnny Guitar Watson fairly well through that tour. It was not long after that when he joined DJM and suddenly became an international star. Prior to that he wasn’t although he had become successful in America having had some modern soul/disco type records that hadn’t broken big over here. When he was on this tour he just strictly did all the old stuff. He said, “I know what I’m supposed to be doing here” so he did ‘Gangster Of Love’ and so on. Let’s move on now to the Michael Jackson interview. That was in Fort Worth, Texas. I’ve already mentioned the benefits of being a journalist; free lunches, free records, free gigs, and the other thing was getting free trips to America although I didn’t get as many as the rock journalists who were forever flitting off. On one of these trips I was sitting next to a female journalist from one of the British tabloids, the Star or the Sun, and she said “I didn’t know what to do this week, whether to come on this one to LA or to go out to Japan to see (whoever)”. Apparently it was just endless for her. It wasn’t for me but I got at least one trip a year. In ’77 I was on a CBS & Polydor all expenses paid trip and the main reasons I was going were to interview Joe Tex who had just had a revival; he’d been pretty cold for quite a long time and had a big disco hit with ‘Ain’t Gonna Bump No More (With No Big Fat Woman)’ and they’d also just signed Bobby Womack from United Artists, so they were the two main reasons I was going. They allocated somebody to look after me and that was quite funny as there were so many rock journalists milling about they’d run out of escorts from their pool so they gave me this guy from their classical department who really didn’t want to be with a rock journalist and on top of that he was gay but turned out to be a really nice guy and we got on fabulously. He enjoyed it in the end but he was the guy that had to shepherd me round America, booking flights or hiring cars, whatever was required. I got there on the Monday and on the Tuesday somebody from the press office said to me “We’ve just signed Ronnie Spector, would you like to interview her?” Naturally I said yes. They drove me up to her apartment, knocked on the door and Ronnie came to the door and ushered me in. I don’t think the guy from CBS came in with me; they just left me there to make my own way back down to the office. Ronnie found me a comfortable chair, poured me a drink and then sat at my feet, looked up at me and said, “So what do you want to know about me?” The next day I was off on the road with the Atlanta Rhythm Section who were a bunch of rednecks from Atlanta but quite a good band musically. The bass player really wanted to be out of the band to join the Eagles or something as he couldn’t get on with the other guys and the next night I found out why. We went to Pittsburgh University and afterwards to a local bar somewhere when suddenly this almighty fight broke out in the bar and it was actually the lead singer and the lead guitarist. The bass player said to me, “You see this happens all the time; that’s their idea of fun”. They were best mates but they’d like to have a few drinks and then bash the hell out of one another. Next there was a party for Kansas in New York (I don’t remember much about that). Then we flew down to New Orleans where the guy from CBS hired a car and we drove up the River Highway to Fayette, Mississippi, to Evers Lounge which was owned by the brother of Medgar Evers, the famous civil rights activist who was assassinated. His brother owned this Motel and Lounge in Fayette and when we got there Joe Tex was waiting. We were late because we'd driven through an almighty thunderstorm on the way, aquaplaning through Natchez, and when we eventually ended up at the Motel, Joe Tex was sitting on the porch under cover and said, “Where you been man, I’ve been waiting for you?” I had a great interview with Joe Tex because I’d done my homework so I had his discography and highlights of his career in front of me and he said “Oh man, you know everything”. This was followed by a fabulous show in the club afterwards which, again, was an all-black club apart from the guys from CBS and myself. Otherwise an all-black audience and a great atmosphere and when Joe got on to ‘Ain’t Gonna Bump No More’ this big fat momma got up from the audience and shook her arse… a fabulous night. Towards the end the guy from CBS said, “I’ve had a call from the office and we’ve got to stop off at Fort Worth tomorrow to see the Jacksons”. We were actually due to go on to Los Angeles next but instead we flew to Fort Worth.
27 The Jacksons were at a funny period at that time because they’d left Motown and had to change their name from the Jackson Five as Berry Gordy owned the name although Michael Jackson himself hadn’t left the group and was still the lead singer. They changed their name from the Jackson Five to the Jacksons and I don’t think they’d had a mammoth hit at that time although everything they put out was some kind of hit. Before the show, which was fabulous, they said I could interview Michael and they ushered him in to this room which they’d booked for interviews and where they’d parked me. It was really strange; I suppose he must have been about 18 at the time and he had this little voice, very friendly but he had this little voice. He came in and said “Yeah, you wanna talk to me?” and he spent the whole interview peering round the back of a chair. I tried to ask him about his philosophy on music when he went into the studio, who did he listen to and he just said “Well man, we just try to please the people and sing what we give ‘em”. They’d played in LA the night before and made personal appearances after the show where a girl fan had been smashed through a plate glass window and had to be rushed off to hospital and he was talking about that. He was obviously concerned about it but he was like “Well that’s the sort of thing that happens when you’re a Jackson”. So it wasn’t a very productive interview, frankly, as I couldn’t really relate to him; I was 32 by then and he was this 18 year old talking like a 9 year old. But in the show afterwards the Jacksons were fabulous, really killers on stage, not just Michael but the whole group were really good. The next day we flew off to LA and I interviewed several people including Bobby Womack who took me to his home. I already knew him having met and interviewed him in London. So Michael Jackson, in between Joe Tex, Ronnie Spector, the Atlanta Rhythm Section and Bobby Womack, didn’t really feature. But it’s just one of those things… if you knew then what you know now you’d try and get more out of him. If I’d known this chap was going to be the black Elvis Presley I’d have done a bit more about it and made more effort. The interview with Michael was published in NME and the funny thing when you’re freelance and not in an office, although this was also true of their regular journalists, they have sub-editors who put it all in (and remember this was before computers) to be ready to go to the typesetters and it’s the sub-editors who think up all the wacky headlines. The Jacksons’ hit at the time was ‘Show Me The Way To Go’ and so the headline ran Show Me The Way To The Infirmary because of his anecdote about the girl. Were your interviews printed the way you wrote them? Sometimes they edited it, sometimes there were misprints, and then I’d go back to my typed copy to make sure I hadn’t typed it wrong but I wasn’t too happy with this one as it wasn’t the most successful interview. It was only about half a page whereas my Joe Tex interview was over a couple of pages or more. The Bobby Womack interview was a bit shorter as I’d already interviewed him once. How did the sleeve note writing come about? I compiled and annotated a fair number over the years, starting in 1977 with a James Brown “Golden Hits” double-LP for Polydor and a compilation of Sam Cooke’s ‘50s Keen recordings for EMI. Although I compiled and annotated some of the Charly R&B LPs, for the majority I commissioned more knowledgeable buffs than me to write the notes. Ironically, the most lauded of my projects, even when I was working for Charly and then beyond, were several retrospectives of James Brown’s career that I conceived, compiled and annotated for US Polydor / PolyGram / Universal Corp. In late 1992 (presented at Radio City Music Hall in NYC in early 1993) I was one of the five-man team awarded a GRAMMY for the James Brown “Star Time” box set. I joined Charly Records in July 1979 and I effectively gave up my writing career for NME and Black Music at that time. I phoned up and Joop Visser the Managing Director answered the phone; he was the second in command and Jean Luc Young was the Founder/Chairman/Owner of Charly Records, founded in 1974. I’d been to one or two of their parties and always gave them favourable reviews in NME so I phoned to see what they were putting out that week and Joop offered me a job. Although I didn’t know it, Joop had just had a falling out with Max “Waxie Maxie” Needham who was their Press Officer from the beginning up until ’79. I thought that was good as I wasn’t earning a lot as a freelance journalist (not that I would earn a lot more with Charly!) so I took the
28 job. It was very fortuitous because I was taken on as Press Officer, Waxie’s role, but almost simultaneously Charly, who were best known for representing the Sun catalogue in Britain at that period, had just acquired the UK/European rights to three important sources of US black music: a) The Vee-Jay catalogue, the blues/R&B/soul music company that rivalled Chess in Chicago from 1953 to 1966. b) The Sansu catalogue, a wealth of late ‘50s to early ‘70s New Orleans recordings produced by Marshall Sehorn and Allen Toussaint - some originally released on their own Sansu label, others originally appearing on other labels. c) The Stan Lewis catalogue. Stan was a music entrepreneur based in Shreveport, Louisiana who had R&B/soul/pop success in the ‘60s (perhaps also before and after) with releases on his Jewel, Paula and Ronn labels. So they suddenly had access to all this American black music which they didn’t have before. So I said to Joop, “This is great as I know a lot about this stuff and that which I don’t know, I know people who do and I think we ought to set up a new label” so we set up Charly R&B as a separate label and it was a great success. We did albums, we also did a whole series of three-track 45s called Triple Dynamite for a while. We didn’t do too many of those, only about 25. Launched in 1980, the first 10 Charly R&B LPs were compiled from the original three sources but Charly went on to acquire the rights to other R&B/soul catalogues and to license recordings from the majors. There were about 220 Charly R&B albums by 1989. That became my life in the '80s which also entailed trips to America; not many, but I did go out to Nashville to Shelby Singleton’s Sun Studio, to Shreveport to Stan Lewis's set-up and to New Orleans to see Allen & Marshall and where I interviewed Lee Dorsey, who was a great character. The first LP on Charly R&B was a Lee Dorsey compilation which I compiled and I got Joe Strummer of the Clash to do the sleeve notes because not long before Lee had been on a From an ‘80s Charly brochure. I am tour with the Clash which had freaked him out. He got on sitting on the trunk of Jean Luc's well with the band as they were big fans of his anyway but yellow Checker limo (the same he’d been on this tour and said, “Man, I got on my suit and company who manufacture the NYC everything and they’re spitting on me!” He had his own body yellow cabs) outside the Charly repair shop in New Orleans and I went down there one day offices and warehouse when he was working on a car, and he said, “I never can figure out whether I’m a better fender man than I am a singer”. Not necessarily a great singer but definitely a great character and a very charming man. How long were you with Charly? I was with them for exactly ten years although I did leave temporarily in the middle - not a great disagreement, just that Jean Luc didn’t pay me a lot even though I was running this successful label for him but I found out later on he was a bit pissed off with me because I used to put either “compiled by Cliff White” or, if I didn’t actually compile it, “co-ordinated by Cliff White” on the back of all the releases. Apparently he was niggled that he didn’t get any credit. Charly’s still going under Snapper Music and everything now says, and has done for years, “Executive Producer Jean Luc Young”. Perhaps if I’d put that on the releases I was responsible for I’d still be there and maybe he’d have paid me more.
29 Apart from quibbles about my meagre salary, the 10 years with Charly Records were generally good times. Jean Luc and Joop gave me a lot of leeway about the releases, and not only with Charly R&B. Other stepping stones were the Jerry Lee Lewis 12- LP box set “The Sun Years” I nudged them into risking (apparently the inspiration for Bear Family to start releasing their box sets), and the first Charly CD in 1986, naturally a compilation of the Killer’s Sun Recordings, “Ferriday Fireball”, compiled and annotated by a certain Cliff White. In tribute to Jean Luc I cannot emphasise enough that bringing over December 1986 with Hank Ballard and his Hank Ballard & The Midnighters for a gig at the charming partner / manager Hammersmith Palais in December 1986 was a financial risk that not many company bosses would have backed. What a night that was! Anyway, I left for a short while and Joop and the Financial Director asked me to go back so I did, finally leaving in February 1989 on a year’s contract to Demon Records doing much the same thing. I put out some new releases from the Black Top label in America and some compilations but the main idea about this deal and the way it was sold to Demon was to do a major deal with WEA for their Atlantic back catalogue which they were doing little or nothing with at the time. We’d do a whole series of great releases from the Atlantic book. There was a lot of Front left, Jean Luc Young (Chairman of Charly Records). to-ing and fro-ing about it but in the end Rear left, Joop Visser (then MD of Charly Records). they did it themselves through US Rhino Centre back, Cliff White (then Product Manager for Records. I think Rhino was an Charly Records). Rear right, Hank Ballard's partner & independent label at the time but WEA manager. Front right, Hank Ballard did this deal and finally bought into Rhino. I was only with Demon for a year but there was no acrimonious split or anything, it was just a year-long deal. In the spring of 1990 I started writing a biography of James Brown but fell over sideways after struggling through five chapters. I gratefully gave over the project to Geoff Brown, ex-Editor of Black Music magazine, currently Associate Editor of Mojo magazine. I was lucky in that the publishing company didn’t demand their advance payment back as I no longer had it! After a few months I got a call from somebody at MCPS (Mechanical Copyright Protection Society) saying they had this new department called National Discography and they needed knowledgeable researchers in all genres of music, inputting extensive discographical info to the company’s then recently computerized database. One of the directors, Godfrey Rust, had this real brainwave; if recording companies had to register every release in Britain with MCPS so they could pay royalties to the writers’ publishing companies, while we’re doing that we might as well put the rest of the discographical information on the database - who played and sang on it, the original P-date, the original release number and all that sort of information and he set up this department called National Discography. I freelanced for about six months and then, after continually asking them, I was asked to join. It was a great idea although it’s all gone to pot now. There were four teams; a Rock'n'Roll, soul, R&B team, a jazz and classical team (quite why these were grouped together I don’t know), a contemporary rock team and a straight pop team. For 30 several of the later years I became manager of one of the teams of researchers. The whole department was full of nerds like me who were fanatically inputting data. I used to take my own records in and put them into the system - all my Wilson Pickett and Percy Sledge albums went into the system. We had an incredible database at one time which, if they’d stuck with it, they could have earned a lot of money out of it. Alas, after an ’Alliance’ with PRS (Performing Rights Society) - effectively a takeover by PRS - the discographical element of the service was gradually phased out, eventually partly logged by another copyright company, PPL (Phonographic Performance Ltd). In late 2002 my team was made redundant and I soon followed. Luckily, within three months I got my job with Proper Music, founded by Malcolm Mills, which I think is still the most successful independent music distribution company in Britain as it specialises in a lot of the stuff the majors won’t touch like folk music and jazz. How long were you with Proper? I was one of the Label Managers at Proper Music Distribution from spring 2003 to November 2008, five and a half enjoyable years with the UK’s leading independent music distribution company. Like much of the UK music industry, PMD had a rough summer in 2008. I think this was when downloading started to have a noticeable effect on CD sales. 2008 was also the year of the great financial crash in the USA and Europe caused by malfunctioning reckless bankers. I guess that's more likely to have been the cause of PMD's troubled summer than downloading. Along with a few other staff members I was politely asked if I’d kindly take voluntary redundancy (please accept this modest handshake and jump ship before you’re thrown overboard). Ironically, within a month, PMD’s principal rival distribution company went under, so PMD picked up a lot of their business and also some of their staff who filled the vacated desks. I went back for a short while on a freelance basis to input all this information onto their database as they suddenly had all these new labels but I never went back full time. And I’ve been on the shelf ever since (sob!) It’s been a great interview Cliff, thank you very much. Thank you Keith.
A postscript from Cliff.
If I may I'd just like to add a nod to a few memorable interviewees who, because of the flow of the chat, didn't get mentioned in our conversation. Among the many ladies who could have charmed my socks off had they been interested: Yvonne Fair, Millie Jackson, Etta James, Gladys Knight and Mavis Staples. Among the many gentlemen who embodied experience with good natured humour: Bobby Byrd, George Clinton, Bootsy Collins, Pee Wee Ellis, Dale Hawkins and Ronnie Hawkins. Apologies to all the many others whose namecheck fell off the edge of the page into the canyons of my mind. With Ronnie Hawkins, a Jerry Lee fan. © Graham Barker
31
In my little preamble last time (issue 80) I meant to point out that the Alabama 3’s track ‘Woke Up This Morning’ is being used as the introduction music to ‘The Sopranos’ on Sky Atlantic TV. This is an opportunity to hear what a good track it is especially as it is a British band playing it for a hit American series.
Blues Blues: With, again, apologies to Mr. Angry, I must continue to get a fervent moan off my chest. Apart from the wonderful ambience and Blues Blues of the French festival at La Cheze in Brittany which I recently visited, I have not seen a proper Blues performer in the last 12 months. This is because, although they call themselves Blues artists, they are Blues Rock, Rock Blues or just Rock bands, and, usually, they are bloody loud! Now I know this last complaint is probably because I’m a geriatric fart but I now go to concerts with some small ear defenders (industrial ones I used to use in a factory) and, invariably, I have to use them to help identify, a) the tune and b) the vocals. Modern song writers of this ilk really only need to write words for the CD but they are not necessary for live performances as they get lost under ferocious drums and bass, and this is a totally British Blues phenomenon. The Americans do keep to type using the terms R&B for the louder types along with Soul Blues and Blues so you know what you are getting. American Blues recordings are where it’s at these days and for them, Blues is still Blues Blues. We seem to be having the repeating problem of British Bands trying to imitate the Americans with the same disastrously sad results as they did in the early Rock and Roll recordings. Back to this Blues Rock business. Reading reviews of bands in Blues magazines, it’s not long into the article before you find the band is a rock band playing some Blues rock. Modern British Blues magazines and clubs seem to accept that loud rock is Blues. Well, I don’t! Let me end by saying I went, only once, to see folk rock in the shape of a band called ‘The Whiskey Priests’ and kind of knew what was coming when I saw the huge drum kit was mounted on and inside a frame of scaffolding! It wasn’t a pleasant evening because the instruments and the singer were out of tune and literally deafening. (The friend I was with, Brendan, thought they were marvellous and promptly bought their LP!) I wonder, if the old blues innovators, Willie Dixon, Robert Johnson, Elmore James, Jimmy Reed and their like, were resurrected, would they enjoy how Blues in Britain has progressed or be horrified? I think the latter because it’s just not developing (except for the electronics and the volume).
Joe Sample died on September 12th this year from cancer aged 75. He was a great pianist and one of the first people to successfully use an electric piano. Before that, if you wanted volume in a band, you used portable organs like pianist Alan Price in The Animals. I am not going to go into his fabulous career in which he played on dozens of blues and rhythm and blues records (B.B.King always used him). He was considered a Jazz player having formed the Jazz Crusaders which changed its name to The Crusaders becoming more accessible to the crossover crowd (which I was then). I write about Joe because it reminds me of an ‘incident’ that happened in 1978/79.
32 The Crusaders were playing at Dunstable town hall and a few of us from my pub went along to see them. Randy Crawford had had a hit with them, ’Street Life’, and was guesting that night. In the pub across the road, I met a couple of musicians (carrying their brass instruments in cases). I thought they were with the show but it turned out that they had just recorded a television show as members of the Jack Parnell orchestra and were on their way home. They asked me who we were going to see and I told them and they had never heard of the Crusaders and my description interested them but it was a sell out so I jokingly suggested they enter by the stage door showing their instruments and they might get in for nothing. This they did and we later met them in the bar in the venue, and they promptly bought us a drink and enjoyed the rest of the evening with us. A good recent album by The Crusaders showing how good Joe Sample was is ‘Rural Renewal’. Paul Jones played a track from this, ’Creepin’, in his tribute to him on Radio 2 recently.
Lists: It’s that time of year when everybody looks back on 2014 and chooses their top CDs. Well, I’m not going to do that but take my list from ‘The Blues’ magazine which is the top ten ‘Greatest Live Blues Albums’. They actually picked 25 albums and some in the lower 15 like Lonnie Mack (Attack of the Killer V) 1990 and Etta James (Rocks the House) 1964 deserve to be higher placed. 1) B.B.King (Live at the Regal) 1965 2) Muddy Waters (At Newport 1960) 1960 3) Hound Dog Taylor (Beware of the Dog) 1976 4) Albert King (Live Wire / Blues Power) 1968 5) Magic Sam (Raw Blues ’69) 2013 6) Rory Gallagher (Irish Tour ’74) 1974 7) Dr. Feelgood (Stupidity) 1976 8) Johnny Winter (Live Johnny Winter And…) 1971 9) The Allman Brothers (At Fillmore East) 1971 10) Joe Bonamassa (A New Day Yesterday Live) 2002 I think the dates are interesting, the youngest being a ‘found’ 1969 recording. I must say I haven’t heard half of these so I’ll leave it at that.
Who did I last see: A proper Blues band at last! I went to my local club to see The Hitman Blues Band, a sometimes 9 piece American outfit led by singer guitarist Russell ‘Hitman’ Alexander and supported by the New York City Horns. Hitman played a low slung oak finish Flying V guitar with a ‘spiky’ sound similar to James Hunter. He has a great personality, good songwriter, has been nominated for the Blues Grammys and knows how to entertain with some superb Blues. His large band gives him a soul sound not unlike Delbert McClinton, a great favourite of mine, With a great sense of humour, Hitman captivated the crowd and allowed all his musicians to enjoy themselves. The band consisted of Mike Porter bass, Guy LaFountaine drums, Eric Altarac trumpet, Michael Snyder great sax (and clarinet) and a baritone sax whose name I didn’t catch. On organ and electric piano was a very late replacement from the UK band Storm Warning and he was quite a star, starting off a little nervously but later taking some incredible solos. Most of the songs were written by Hitman and were well arranged to give a punchy tight sound. The band was occasionally augmented by two backing singers who were wives or girlfriends of the 33 group. The Limelight theatre in Aylesbury is a tiny place and I am amazed at the quality of the bands that are booked there. The Hitman Blues band was well balanced for sound and, (at last) not loud even though there were so many of them. They had a brilliant almost acoustic presentation which was just right for the theatre.
I bought a CD!
What was my last CD: I bought a David Clayton-Thomas (DC-T) CD recorded back in 2000. Although you might think they are not blues I enjoyed (and still do) Blood Sweat and Tears (he was the lead singer) the CBS Jazz/Rock/Blues band of the ‘60s,’70s and ‘80s and have been filling my boots with their back catalogue on CD. I like DC-T’s voice so have been looking to collect his back catalogue too. This CD ‘Blue Plate Special’ is a Blues album containing four original tunes and classics from the songbooks of Ray Charles, Albert Collins, Percy Mayfield, Freddie King and Willie Dixon. It is a very polished effort which may turn away many listeners who like raw Blues but then I collect both smooth and raw and DC- T is a good ‘relax with a glass of alcohol’ singer on this album.
What was on my iPod today: ‘Ain’t Nothin’ Doin’ (I Can’t Do)’ by Paul Cox from his album of the same name. He has, without doubt, the best Blues/Soul voice in the UK if not Europe and it’s not just me saying it. He has sung with or fronted too many bands to list but spent a while as vocalist with the John Slaughter Band, and as yet he just hasn’t managed to break through.
PS. Not Blues but 60’s pop: If you have three minutes, have a look at this YouTube posting. This turned up this year, posted by a German, and is the Star Club recording of the single by The Maggots, recorded in 1965, (49 years ago!) a month before I joined them. (I am not on it but proud to be associated with it.) I know several Woodies are interested in Star Club Records and this song and its ‘B’ side can be found on ‘The Star Club Complete Singles Vol.4’ on CD.
And a merry Christmas to you all Dave Parker
34
John Howard
Rock music writer John Howard is coming up for fifty years writing about The Big Beat – but he has no plans to hand in his notebook and biro just yet. Biro? “Erm, that's what we used to call ballpoint pens,” says the Essex-based self-described “old hack”. “Biro was the man who invented the ballpoint pen, but like much in my writing life these days, nostalgia is the name of the game.” Howard was the first to write about future famous names when they were just starting out, like Dr Feelgood, Alison Moyet, Depeche Mode, Eddie and the Hot Rods, Mickey Jupp, the Kursaal Flyers, Wilko Johnson and Procol Harum. Smug bastard winning The Weakest Link “I was the rock correspondent on the local Evening Echo through most of the seventies, when Essex bands became the flavour of the moment,” he explained. “I got paid an extra £3 a week to cover the rock scene, three columns a week, 52 weeks of the year. “I suggested the columns because I knew most of the promoters, and many of the musicians in these various bands. I went to school with Wilko Johnson and Gary Brooker from Procol Harum, I helped to put together The Paramounts, who were a biggish name in the sixties, and had a hit with a cover of The Coasters' Poison Ivy.” Through The Paramounts, Howard met the Rolling Stones, and was invited to see the group in London at Ken Colyer's 51 Club before they recorded their first Decca label single, which he believes marks the point they sold out because they bowdlerised the Chuck Berry lyric of Come On. “I assume label bosses didn't like Berry's use of the word “Jerk”, and they substituted the word “guy” instead." Howard, happily married for 47 years, a father of two, and grandfather of three, developed his interest in records and recordings at the age of 11, buying 78rpm records by Jerry Lee More famous than we Lewis, Fats Domino, Elvis Presley and Gene Vincent from Gilbert's thought? Pianos in Southchurch Road, Hamilton's in Weston Road, or Davies in Southend High Street. However, for much of his working life he was a news reporter, starting at the East London News Agency, which offered the former Westcliff High School teenager the chance to “learn the Fleet Street Style of reporting” for £7 a week. He covered murders and bank raids, and had his first front page lead in London's Evening Standard at the age of 17. Deserting his bedsit in East London for a return to Essex, he worked on the Basildon Recorder, covering the music scene in addition to his other duties, watching bands like The Who, The Animals, The Searchers, Manfred Mann, Spencer Davis with Stevie Winwood and was present on 35 the Friday night The Kinks hit number one with their first hit You Really Got Me, at the Basildon Locarno. “One of the worst live bands I'd seen until that point,” says Howard, who much prefers fifties Rock’n’Roll, catching Gene Vincent at the Night Scene in Station Road, Westcliff, Screaming Jay Hawkins at The Studio, and Billy Fury, Carl Perkins, Bo Diddley, Roy Orbison, Cliff Richard and Vince Taylor at the Southend Odeon among dozens of others. “I even saw Eric Clapton and Cream at Woodlands Youth Centre Basildon,” he recalls. “They were yet to have a hit.” He continues: “I had the pleasure of meeting Bill Haley at The Talk of the South on the seafront. Howard remembers: “The Exorcist film had just come out, which featured a girl with a rotating head. I said to Bill that if he put his jacket on back to front, his band would think his head was rotating. That's an abiding memory of Bill trying to scare the Comets.” Intrigued by reports of the Liverpool scene, he hitchhiked to Liverpool's Cavern, but returned unimpressed. By the end of the sixties, San Francisco was the centre of the rock universe, so off he flew to Haight Ashbury, via the Blues Capital Chicago, where he was the only person in the queue outside the famed Fillmore ballroom carrying a six pack of beer, while all the hippies preferred to smoke dope in the venue, which did not have a bar. At the end of the seventies, Howard discovered New Orleans, returning to the Crescent City’s Heritage Festival more than 20 times, befriending such characters as Champion Jack Dupree, who he promoted in concert at the New Orleans Vieux Carre Hotel on North Rampart Street, along with Sunnyland Slim, Ernie K-Doe, Clarence “Frogman” Henry and Lazy Lester. In England, and the States, he got to meet most of his Rock’n’Roll heroes, including Fats Domino and Not mentioned in the text but John moonlights Rick Nelson at the Royal Albert Hall, BB King in Las Vegas, and Johnny Otis in Cambridge, as TFTW’s regular DJ © Tony Annis Massachusetts chatting to the legendary band leader for so long he was half an hour late onstage. Freed from the demands of a day job around ten years ago, Howard has been able to work full- time writing about his favourite subject, travelling to Wisconsin twice for week-long shows that featured every surviving fifties Rock’n’Roll star still able to work. He has visited the major recording studios in America; Sun in Memphis, Chess in Chicago, FAME in Muscle Shoals, Alabama, and even surprised producer Willie Mitchell with his feet up on the reception desk at Royal Studios in Memphis. This year alone he has been to Spain three times for Rock’n’Roll festivals, to New York for a doo- wop group harmony weekend, to Las Vegas for the Viva Las Vegas rockabilly four day event and all over the UK for rockin' festivals. His work appears in Vintage Rock magazine, UK Rock'n'Roll magazine, Sweden's American Music Magazine, TFTW magazine, of course, and some more mainstream magazines, numbering rockabilly stars like Hayden Thompson and Ray Campi as personal friends, visiting their homes in Chicago and Glendale, California, respectively. “I've been fortunate in my day jobs well, when it comes to travel,” said the 69-year-old. “I've worked in north Africa, where I lived for three years in Libya, Hong Kong, Russia, India, and New York. I was even taken to Kathmandu in Nepal for a travel company I was writing for. That's the best way to travel - free!” Kelly Buckley
36 Nick Cobban has very kindly allowed TFTW to reproduce articles from his blog (http://thevinylword.blogspot.com/) so feel free to nip over and take a look at his many articles. Thanks Nick.
Sunday, August 03, 2014 Dave Williams goes Into The Blues I'm looking forward to reading the new book by Dave Williams entitled Into The Blues. This is his second effort and, like his first book The First Time We Met The Blues, it's sure to be a laugh from beginning to end. Dave is a lifelong blues fan (no clue in the titles of his books then!) and has met numerous blues men and women over the years. His interest goes back to the early ‘60s when he first met the likes of fellow blues author John Broven. As well as his many trips to the US, he's also travelled extensively elsewhere and is a keen angler and cricketer. According to the sleeve notes subjects include childhood, travel, cricket and fishing and the book comprises 13 'tall man tales' recalling musical adventures and the characters encountered en route. He threw a launch party in August which was very enjoyable and included a live band, with Bill Moodie on harmonica and Dave adding some additional vocal interjections. Monday, August 04, 2014 Music and sunshine at the Summertime Swing Laurie London was just 13 when he had a smash hit in the UK and the USA in 1957 with He's Got The Whole World In His Hands. After failing to find an equally successful follow up, he gave up the music business and disappeared from public sight for decades. But now he is back, looking well, singing strongly and with a nice line in humour in between numbers. Laurie was one of the stars of the 10th annual Summertime Swing, located in the gorgeous grounds of Saint Hill Manor near East Grinstead, the UK headquarters of the Scientologists, which took place on a beautifully sunny day. Backed by the excellent seven piece swing band the Jive Aces, as were all the acts, Laurie began with Take The Hand Of A Fool and followed with Hank Williams' Cold Cold Heart and This Little Light Of Mine, before finishing with his 1957 smash. In between numbers he amused the crowd with jokes about DJ for the day Mike Read (son of Tony Blackburn, he suggested) and members of the band. Very good he was too. The Jive Aces are the instigators of this annual one day event and they provided the audience with some great swing tunes, including All The Cats, Beyond The Sea, Ain't Misbehaving and the self-penned La Dolce Vita. They were supported by musical theatre star Cassidy Janson and guest trumpeter Antonio Socci and their enthusiasm and humour made for a great afternoon's entertainment. First guest act on stage were the East Grinstead Ukulele Club who, Mike Read said, had travelled literally yards to be with them. Also on the bill, and putting on an excellent show, was Woodies favourite Vince Eager, another artist whose career began in the 1950s. He kicked off with Such A Night and followed with Gumdrop, It's Only Make Believe and Mean Woman Blues. Highly enjoyable. 37 Further musical entertainment was provided by Ray Gelato, whose swing act fitted perfectly with that of the Jive Aces. His set included Whisky On the Shelf, Nosey Joe, Dean Martin's Everybody Loves Somebody (a duet with Cassidy) and I Want To Be Like You. Wednesday, August 13, 2014 Lauren and Robin RIP There have been a couple of high profile deaths recently of people who, although not musicians, were major stars and definitely worthy of a mention and the raising of a glass on The Vinyl Word. I was quite a fan of Lauren Bacall, whose early films with Humphrey Bogart showed her at her smouldering best. Her husky voice and sultry good looks meant that she made an unforgettable film debut in To Have And Have Not and followed this with three further movies co-starring with her soon to be husband - The Big Sleep, Dark Passage and Key Largo. Later films included How To Marry A Millionaire, North West Frontier and Murder On The Orient Express and remained a major movie star until her death, aged 89. Much has been written about the depression suffered by Robin Williams which eventually led to his suicide at the age of 63. He was certainly a funny man and an impressive actor, first in Mork and Mindy and later in such hit films as Good Morning Vietnam, Dead Poets Society, Good Will Hunting and Mrs Doubtfire. Yet there was always a manic edge to his performance which seemed on the verge of exploding into something uncontrollable. He will be missed. There have been a couple of deaths in the music world which deserve a mention as well. Henry Stone, who was 93, may not be a household name, but many of the soul and disco acts that he recorded and produced in his Miami recording studio are. His career began in the late 1940s and in 1951 he recorded a young Ray Charles on St Pete Florida Blues, before having success with The Charms' Hearts Of Stone, released on De-Luxe. His own labels included Dade (with Latimore's early recordings), Alston (co- owned with Steve Alaimo, which had success with Betty Wright's Clean Up Woman) and Glades, which enjoyed success with Timmy Thomas and Latimore's biggest records. His most successful label was TK which had enormous disco success with former warehouse worker KC and the Sunshine Band. Stone was known as the King of the Transhippers through his Miami-based Tone distribution company and had an arrangement with Jerry Wexler, who wrote a glowing tribute, which is covered in full in John Broven's Record Makers and Breakers. The Vinyl Word also raises a glass to New Orleans-born drummer Idris Mohammed, who was 74. Although primarily a jazz man, playing with the likes of Lou Donaldson and Pharaoh Sanders, he made his first mark by playing drums on Fats Domino's 1956 hit Blueberry Hill. And, following prompting from my son, comedienne Dora Bryan, whose sole contribution to the world of music was the dire All I Want For Christmas Is A Beatle in 1963.
Nick Cobban As usual, TFTW would like to thank Nick for allowing us to borrow (steal?) his articles.
38 The instant success of Sugar Ray's Vintage Recording Studio in Essex is underlined by the release of a 17 track “best of” within a year of its opening. The aim of the retro studio was to replicate the sounds of the forties and fifties by using vintage equipment in a live room modelled on the designs of the likes of Sun studio in Memphis. And, boy, have they succeeded. Crystal-clear Mono sound showcases a whole series of established and up-and-coming names that booked the studios to take advantage of its authentic ambiance and went home with recordings that sounded as if they had been cut up to sixty years ago – minus the snap, crackle and pop. This 17 track collection is also a tribute to the musicianship of Pat Reyford, aka Sugar Ray Ford, who gives his name to the studio, in partnership with fellow musician Dean Amos. Pat appears on a number of tracks, including some under his own name, reminding us that as the leader of both Sugar Ray Ford and the Hot Shots, and Sugar Ray Ford's Flying Fortress, he has a fine voice that deserves a wider hearing. Pat opens proceedings with his take on Hardrock Gunter's Birmingham Bounce that has the lighter touch that today's digital studios would find it hard to replicate. On this, and three other tracks, Pat plays all instruments, a versatile fellow he. New name to me, but obviously a great singer, Dainie Jane offers a very traditional take on WC Handy's St Louis Blues that would not sound out of place on a fifties Dinah Washington LP, followed by Little Red, plus Pat, on Lavern Baker's How Can You Leave A Man, again a femme singer with a distinctive voice and delivery on a gently rocking number with jazzy guitar overtones. Rob Glazebrook, a man of many bands including The Playboys, The Houserockers and The Broadkasters, appears under his own name to debut one of his own numbers, I'm So Lonesome, which is minus guitar pyrotechnics but a great vocal. His second number is a cover, Johnny Strickland's She's Mine, which features slightly more guitar on what will be a familiar tune to many. Also familiar is Spencer Jordan's That'll Be the Day, yes, The Crickets’ former number one. Obviously, the aim of this release is to feature the sounds the studio creates, and well known numbers may do that better than originals or obscurities. Imelda May cut the flip Looking For Someone To Love and really took it somewhere. Spencer doesn't. There's a couple of known bands here, including Fever, whose take on Carl Perkins’ Sure To Fall misses the edge Carl's voice brought to the Sun recording, and the rather excellent Rhythm River Trio who essay Ruth Brown's first R&B number one Teardrops From My Eyes and make a good job of it. Pat Reyford shows his versatility on two consecutive self-penned numbers, Black Lightening (sic), the two wheeled son of Hot Rod Lincoln, and is almost doo-wop on Moni, a highly commercial offering that I'd recommend as the first vinyl single from the studio. He improves on Eddie Fontaine's Cool It Baby, not one of my favourite Fontaine tracks in any case, and he bookends the collection with a second country classic performed well, in this case Hank Williams’ Why Don't You Love Me.
39 You couldn't get a fag paper between The Heylas and The Poni-Tails on the classic Born Too Late which makes them a group I'd love to see onstage, while yet another young lady with great promise is Leanne Rose Rivett, with a strong song apparently entitled Lynchburg, which you would not guess from the lyric. So, what's left? I wouldn't describe Chris and the Boola Boola Trio who offer Johnny Burnette's Don't Do It as filler, but it's not from JB's golden period lacking the charisma of the original, similarly with The Black Caps on Chuck Berry's Sweet Little Sixteen. So a forty five minute aural calling card for a studio for whom the future looks bright. John Howard
There were hundreds if not thousands of Rock’n’Roll acts playing and recording in the 1950s and early sixties who were totally unknown to record buyers at the time. More are discovered or re-discovered every year. There are even independent record labels whose presence remained undetected even to the likes of pioneer Mimi Trepel, who signed up so many indies for UK release on the ground-breaking London-American label. Case in point: Santo Records of Memphis. Who knew that Meteor Records rockabilly act Wayne McGinnis owned his own label and was busy signing up every local act not already inked to Sun, Meteor, Fernwood, Hi, or myriad other outfits that had sprung up in the capital of the mid- South following the breakthrough of Elvis Presley, Carl Perkins, Jerry Lee Lewis, Johnny Cash and the rest of the hillbilly cats. You might think the barrel of talent was reaching its bottom. Far from it. There's some choice rockers that never bothered the charts, some big names who saw success with other labels, and even Isaac Hayes’ first recording, which sounds absolutely nothing like the Isaac Hayes we know. The undoubted star of this collection is Bobby Lee Trammell, a wild piano pounder who started his career in 1957 with the exuberant Shirley Lee. By the time Wayne McGinnis started what would turn into a series of labels in 1961, and signed him, Trammel had honed his versatility and was producing dance craze discs, solid blues with a thundering bass, and even derivative novelties. He opens this 34 track collection with Arkansas Stomp, a follow-up to the 100,000 selling Arkansas Twist. Hold on, I thought you said Wayne McGinnis never scored any chart hits? Well, in addition to recording his own acts, later in the sixties Wayne, a successful aviator as well as a musician, started buying up labels, and this is how he was able to obtain the Alley label cuts like “Twist”, and also Bobby Lee's earlier Hi Ho Silver, cut for Vaden Records and also included here. Bobby Lee actually had sixties releases in the UK on the Sue label, particularly New Dance in France, but it was the flip that impressed me at the time, a stomping Jimmy Reed-style blues entitled Carolyn. There are sufficient Carolyn clones here to keep me happy. But there are any number of other gems here, starting with the unbelievably unimaginatively named The Holiday Trio, an instrumental combo, whose first outing here Desperate would give Hank C. Burnette's Spinning Rock Boogie a run for its money more than a decade before that Swede picked a note. Their other offering, Dark Valley is an atmospheric but uptempo cut.
40 Sax player Ace Cannon had hits elsewhere, but found the going on the Santo label more “Tuff”. However, Sugar Blues and .38 Special are fine examples of his craft. One of the more familiar names here is Harold Dorman, whose Mountain of Love was a big US seller and, when covered by comic Kenny Lynch, a UK hit as well, and song and performer are present here, albeit a re-recording equal to the original. There are no weak spots on this collection, no filler at all, thanks to compiler Dave Travis, almost a guarantee of a quality compilation. Also worthy of mention must be Thomas Wayne, brother of Luther Perkins, Johnny Cash's long- term guitarist and hitmaker of Tragedy, whose Gonna Be Waiting sounds as if it borrowed the backing from Brook Benton's Hurtin' Inside, and The Red West Combo, fronted by the leader of Elvis' Memphis Mafia who had musical ambitions, too, instanced by the blues-rocking My Babe. So what of that Isaac Hayes debut single Sweet Temptation/Laura? Proto-soul from 1962 with a full backing that showcases a warm vocal with no suggestion Truck Turner or hard funk was on the horizon. Troy Dodds, Misty Bonner, Forrest Green, Red Williams, Wayne Toombs and Darrel Tatum all hoped for hits on Santo. Sadly, all they got were great recordings. If you have any sense, you'll snap this up, and you'll have some great recordings, too. John Howard
Ten years after JLL had become a country, as opposed to Rock’n’Roll, sensation the original pumping piano man turned his back on Nashville to record once more in Memphis, in the safe producing hands of Knox Phillips, son of Sun head honcho Sam. Trouble was, Jerry was contracted to Mercury records who were putting out the hits, and paying the bills so a release at that time was out of the question. However, thirty plus years later, Knox has decided the time is right to bring these recordings to market, and a fascinating insight into the musical world of Jerry Lee they provide. Opening with Jim Croce's Bad Bad Leroy Brown, perhaps the only song on record JLL shares with Frank Sinatra, he turns what was uptempo quasi-Rock’n’Roll into a country number – except I don't remember the word “mother-humper” in the original. And that's the key to these recordings, and Knox Phillips’ producing style. He encourages Jerry Lee to record and say anything he likes. So we have traditional numbers that Jerry must have learned as a youngster like Ragged But Right and Pass Me Not, O Gentle Saviour alongside a two-song Chuck Berry medley where Johnny B. Goode meets Carol. There's original country numbers That Kind of Fool from JLL's recording collaborator Mack Vickery and standards like Canadian Sunset, Music Music Music and Harbour Lights. But don't expect any of those to sound like versions you've ever heard before. With piano upfront and centre, Jerry Lee changes tempi and lyric to suit himself, and has plenty of off-the-cuff remarks to underline the impression that what we have here is a master musician fully relaxed and enjoying himself.
41 There may be only ten separate tracks but what with medleys and Jerry Lee's additions, we have a comparatively generous playing time of a near 45 minutes. John Howard
This is the second person to describe, on a record label, his piano as “pumping”. The first, of course, was Jerry Lee Lewis, so you can see where Chris Girton got his influences. He's absorbed them well, and you can hear that influence on every track, although he tends to stay away, for the most part, from JLL's own material. That doesn't mean the numbers are unfamiliar with Johnny Horton's Cherokee Boogie rubbing shoulders with Smiley Lewis' Real Gone Lover, and Darren Spear's now-standard Forever's Much Too Long. All are given the Killer treatment, and benefit from it. Chris is an American, based in Louisiana, with the high tenor that suits the material, but with the flexibility to drop down a tone when required, as the last track of 12, Ral Donner's You Don't Know What You've Got (Until You Lose It) amply demonstrates. Whether I want Chris' versions of Hank Williams’ Your Cheating Heart or Charlie Rich's Break Up when I've still got Jerry Lee's versions is a moot point, but if you haven't, then that criticism does not apply. So, a pleasant listen from a young man with potential, worth following to find what the future may bring. John Howard
Attention all jive and Rock’n’Roll deejays! You must buy this record immediately. Why? I hope you are sitting down. It contains 18 brand new highly danceable tracks by a six piece band in the mould of Bill Haley's Comets golden period, Freddie Bell and the Bell Boys and Jimmy Cavello. The songs are usable dance floor fillers the likes of which we have not heard since The Lennerockers and Si Cranstoun reminded us that Rock’n’Roll is basically for jiving. Still sitting down? The band is from Brno in the Czech Republic, write in English, and sing in totally accent-free English. Just how does this happen? Globalisation must be the answer, but if it was easy to produce, write and play music as well as this, I would be raving about every review CD that turned up in the post. 42 Gone Hepsville is perhaps not the catchiest name for a band, and its six members all have names with more accents in them than my keyboard contains, but Petr Pospisil is a great lead vocalist and stand-up bass player, who also wrote most of the songs, while Pavel Stursa is a similarly fine lead vocalist and guitarist. They have apparently spent the last ten years in a tribute band and learned their lessons well when it came time to write and cut new Rock’n’Roll originals. Titles include Lazy Town, She Won't Shut Up, The Jump and Sweet Defeat, but every one on the CD is a winner, with no filler at all. Even the sleeve design is authentic fifties style, along with the sleevenotes. If you dig classic Rock’n’Roll, do yourself a favour, and snap this up. Now. John Howard
Here the Bears have something unusual; a re-edition of a Detour vinyl LP (33-008) issued in the UK in 1989. The record label was the brain child of sound master Bob Jones and that cat spent a considerable time ensuring that the products had an authentic feel. Bob Jones passed away on April 12, 2009 at 65 years old but his legacy still goes on. Let's check what you've got here: First song is "Hound Dog" by Jack Turner as recorded on March 20, 1953 and issued on RCA 5267 featuring great work on guitar by Chet Atkins and steel guitar by Jerry Byrd. Yes, that's the Big Mama Thornton classic turned country style by a 32 year old cat and his Granger County gang as recorded in New-York City. Also from Jack is "Walkin' The Chalk Line" recorded the following year and issued on RCA 5682. This tune is a great hillbilly that bops gently with walking bass, fiddle and steel guitar. Same kind of stuff that was recorded by Billy Starr for Imperial 8186. Next song "Moblin' Baby of Mine" issued on RCA 4661 was his last release for that label. Recorded in NYC, it's a nice tune, a rich man’s baby and poor man's dream with fiddle and some nice honky tonk piano. Lee Bell's "Beatin' Out The Boogie" (RCA 5148) recorded in 1952 sounds like a blend of Roy Hall piano boogie with Hardrock Gunter's vocal. They sure had common roots in Western Swing. Second offering by Lee Bell is "Get Ready With Those Tears", an average country tune, and B- side for "Beatin' Out". Now it's time for Charline Arthur's hot cover of "Burn That Candle" loaned to The Cues. Recorded one week after Bill Haley this tune is an infectious dancing winner issued on RCA 6297. Charline didn't open the doors for Wanda Jackson or Patsy Cline, she wrecked it ... To make it clear you can also enjoy "What About Tomorrow" from her last session for RCA set in May 1956. Hank Garland on guitar, Buddy Harman on drums and Floyd Cramer on piano give perfect support to the Texas tornado. From Wade Ray, born in 1913, we have the interesting “I Need A Good Girl Bad” (RCA 20-6544) with Tommy Allsup and Chet Atkins on guitars. A medium song wrapped in blues arrangement. Now it is time for the cute Janis Martin, by far the youngest artist on the set, with "Love Me To Pieces" (RCA 6832) recorded in January 9, 1957. The song from Melvin Endlsey is a masterpiece of light boppin' music by one of the sweetest and greatest gals who ever played guitar on earth. We sure miss you, Janis!
43 Following is Bob King, a Canadian artist, who played the WWVA Jamboree in Wheeling (WV) as did Janis. "Let's Make A Fair Trade" (RCA 6486) is a Hillbilly ballad with fiddle and walking bass. The song was issued with a fine cover of Charlie Feathers’ "Defrost Your Heart" on flip side that should have found room here. I don't know why Bob Jones left it shelved. If you're ready to bop you will enjoy Curtis Gordon’s "Caffeine and Nicotine", a boppin' Hillbilly from 1954, close to The Carlisles' style. From Mobile (Alabama) where he owned his own night club, Curtis also presents here "You Ain't Seen Nothin' Yet", a fine alternate take of a nice hillbilly ballad issued on RCA 5062. From the West Coast comes Terry Fell with a Mae Boren Axton/Glen Reeves composition "That's What I Like" (RCA 6256). Cut in Nashville with the finest musicians, it's a fine fast and very attractive hillbilly ditty. Dominique "Imperial" ANGLARES
Here I came to tell you 'bout a Bear Family reissue for an original Detour LP issued by UK sound master Bob Jones in 1983. The LP "Groove Jumping!" (Detour 33-003) and its companion "Still Groove Jumping!" (Detour 33-006) are by now hard to find so these CDs are more than welcome. The CD opens with Sonny Terry delivering a strong "Ride and Roll" (4G-0135) cut in November 1955 with Brownie and Sticks McGhee. Sonny must be by far the oldest performer on the album having recorded first in 1938, and here he gives us a strong rocking blues. Next in line are Mickey Baker and Sylvia Vanderpool who need no introduction. "No Good Lover" (4G-0164), from July 1956, released before their hit "Love is Strange" is a hell of a rockin' ditty. A classic and favorite rockin' tune. Tiny Kennedy comes with his classic "Strange Kind of Feeling", already recorded for Trumpet records in September 1952, and really rocks the joint with Mickey Baker on guitar and Sam "The Man" Taylor on tenor sax. Hard to believe that guy was a female impersonator in Tiny Bradshaw's band way back in 1952. Big John Greer, a saxophonist, makes his vocal abilities clear going on "Bottle It Up and Go" (4G-002) recorded in December 1953. A strong shouter that could be Mike Sanchez' grandad! Next comes one of my favorite vocal groups from the era... The Du Droppers with "Boot 'Em Up" (4G-0036) recorded in August 1954 that could compete with anything cut by the great Roy Brown. The vocal is hot, the sax is moving, the guitar is just perfect ... A fabulous waxing as are "Talk That Talk" (4G-0104), "Dead Broke" and "Speed King" (4G-0001) from December 1953, and the unissued and more relaxed classic from Charles Calhoun "Smack Dab In The Middle". If you dig the vocal groups you will surely enjoy The Five Keys' "Lawdy Miss Mary", loaned to Chuck Willis, led by Rudy West. Next in line is the terrific Roy 'Mr. Guitar' Gaines going loose on Arthur Crudup's "Worried 'Bout You Baby" with the support of Mickey Baker and Panama Francis. A fabulous slice of rockin' blues that makes it clear about Crudup's influence being not limited only to white cats like Elvis Presley or Maylon Humphries from Shreveport, Louisiana. "Dat Dat De Dum Dum", still by Roy Gaines, is more in Chuck Berry's style... Another winner! The last artist featured here is Mr. Bear with two sides from 1955, "Radar" and "How Come?" that are more or less talking blues. I will call these fillers... but by the hell, who could follow Roy "Mr. Guitar" Gaines' "Worried 'Bout You Baby" even being backed by the best musicians in the world... If you're jumping and groovy get this record as soon as you can. Dominique "Imperial" ANGLARES
44 Issued four years after the previous LP had stimulated interest on the neglected "Groove" label, this CD brings us more from the same artists and some new guests working mostly with the house band made up of Sam Taylor and King Curtis (sax), Al Lucas (bs) and Panama Francis (drums). First artist is Roy 'Mr. Guitar' Gaines back with "Right Now Baby" (4G-0146), a superb rockin' blues in Chuck Berry fashion and "All My Life" (4G-0161), both recorded in February 1956. Next comes Larry Dale, hailing originally from Texas, with the unissued "Down To The Bottom" and "Midnight Hours" featuring Mickey Baker on gtr and Champion Jack Dupree on piano. Great blues recording as is "You Better Heed My Warning" (4G-0029). Tiny Kennedy's "Country Boy" (4G-0106), loosely based on "Hound Dog", features stunning work on guitar by Mickey Baker. "Peek-a-Boo" and "The Bear Hug" (4G-0138) as well as "Mr. Bear Comes To Town" (4G-0150), a hot rockin' tune, came from the same December 1955 session done by Mr. Bear (Teddy McRae). "I'm Gonna Keep My Good Eye On You", from an earlier session, like the other tunes, sounds a bit similar to Louis Jordan. The Du Droppers' unissued "Drink Up" moves nicely, one to dance to. Piano Red, another Godfather from Rock 'n Roll, is far ahead of his time with the classic "Rockin' With Red" recorded in Atlanta in July 1950. Born Willie Perryman in 1911, Piano Red laid an infectious toe tapping beat... he sure can rock me. Buddy Lucas, a popular band leader played tenor sax and harmonica but also sings on the raucous "High Low Jack" (4G-0030) from June 1954, a dancing tune in Big Joe Turner style. No need to make presentations for Champion Jack Dupree and Arthur "Big Boy" Crudup... One goes for a talking blues "When I Got Married" while the Mississippi blues man shouts about a bald- headed woman, probably Professor Longhair's first cousin. The CD closes with Piano Red pumping the ivories on "Jump Man Jump" (4G-0101), a hot instrumental from 1955. The CD is not as strong as the first volume but nicely completes the earliest sides published on Detour. Both releases carry the original liner notes but also cool pictures and discographies. Checking the musician’s names makes it clear about jazz men’s abilities to play on rhythm and blues sides. From here you should investigate more in depth about their work as sidemen and find they also helped to nail some of the best Rock’n’Roll sides cut in New-York. Dominique "Imperial" ANGLARES
This CD is a reissue for a classic Detour album from 1987 issued after an earlier try by Pee Wee King titled "Ballroom Kings" in 1982 had brought in a host of requests for more. Bob Jones, mastering engineer, record collector and Detour label owner took on the challenge for a follow-up LP. This long deleted LP and four others are issued on CD format by Bear Family in memory of Bob and in recognition of his contribution to Bear Family's reputation. Pee Wee King, being a Western Swing master, it is nice to start the play with "Beauty Is As Beauty Does" (RCA 6162 - vocal by Redd Stewart) from March 1955 that swings nicely and to follow up with the classic "Rag Mop", a dancing novelty from Johnnie Lee Wills' pen. Opening with two 45 songs, Pee Wee King and his Golden West Cowboys close with dancing tune "You Can't Hardly Get Them No More" (RCA 6005) and "Seven Come Eleven" (RCA 6233). Hal Lone Pine & His Mountaineers go on "Honey, Honey Mine" (RCA 5468), a fast tune with nice jazzy guitar, while Jesse Rogers & His '49ers deliver a fine cover of Bill Nettles' "Hadacol Boogie" (Bluebird 32-0001) recorded in 1949. Texas Jim Robertson's "Jaw Jaw Yap Yap Yap" is a novelty from 1950 while "Waxahadie Dishwasher Boy" is a fine dancing tune by Jim Boyd recorded in Dallas. Not far from some Bill Haley's Essex sides but with fiddle and less drive. Hank Penny and Jaye P. Morgan go on "You Played On My Piano", a dancing fantasy with Roy Lanham on guitar and Vic Davis on piano. "Let Me Be" is a nice little recording by Johnnie Lee Wills from 1952 while "Idaho Red" by Wade Ray is a famous swinging trucker novelty recorded in California in December 1953. Idaho Red, watch him reel and rock! "It'd Surprise You" by Rosalie Allen and "I Don't Think" by Smilin' Eddie Hill are just average while Elton Britt's "I Feel Like The Blues" is a very Delmore Brothers' styled sentimental ballad from 1953. Next Homer and Jethro bring us "Child Psychology", a funny dancing tune with crazy lyrics and the fine support of Jerry Byrd on gtr and Ernest Newton on bass. The last artist featured is Johnny Tyler, a prolific recording artist, who delivers "Old McDonald's Boogie", a nice dancing toe-tapping tune from 1947. Here you've got dancing music delivered by post World War II ballroom kings who were often well established in the thirties. Music that will appeal to ballroom cowboys and ‘40s sound nostalgics. Put a hat on your head, knot a fancy tie, shine your boots and be ready for a Saturday nite of fun in Oklahoma, California or West Texas! Dominique "Imperial" ANGLARES
I am pleased to turn the spotlight on a nice 45 rpm record by my friend Charlie Thompson from the UK. Both sides were recorded at the Tail studios in 2202/2003 with Fredrik Rosen (gtr), Lumpa Johansson and some hobo on bass... and were released then on Charlie CD "The Hillbilly And Honky-Tonk Side Of" (Tail Records 404). Both sides of this record are a kind of Texas v/s Louisiana challenge. On the flip side is a nice rendition of Ernest Tubb’s classic from 1941, recorded in Dallas, "Walking The Floor Over You" while the plug side offers a stunning cover of "Tear Drop Valley" recorded by The Lonesome Drifter (K 5812) in 1958. "K" was a subsidiary of "Ram" records located in Shreveport and owned by Mira Smith. Charlie Thompson and his sidemen are really at home with the Honky-Tonk sound of Mister Tubb and the more bluegrasss oriented style of Thomas Johnson aka The Lonesome Drifter. The record sounds really authentic and is made for those who dig the real downheart country sound. In "Now Dig This", Shaun Mather has described Charlie Thompson as being the human time-travel machine, instantly transporting the crow back to The Big D Jamboree circa 1955... Nothing to add, that's the best definition that could be written about this young and cool hillbilly bop cat. Dominique "Imperial" ANGLARES
46
Purple Heart Recipient Produces Documentary To De- stigmatize Negative Perception of Veterans Las Vegas, Nevada -- "VETERANS: A Motion Picture", a documentary produced by award- winning journalist and Army Vietnam veteran Chuck N. Baker, has been released to help dispel news stories and editorial opinions that he says often tend to paint all veterans as having PTSD and other mental and emotional problems. "Too many veterans have not received their fair share of positive media coverage," Baker said. "I have produced a documentary film that illustrates in brief interviews and vignettes how most American veterans return from military life and become positive citizens. Overwhelming media depictions of soldiers who come home and who can't adjust to civilian life is just plain wrong, and is an insult to the veterans’ community as well as to the active-duty military." Baker points that he in no way "seeks to denigrate those individuals who in fact do suffer from ailments due to their military experiences. They have served honorably and proudly in defense of their nation, and they deserve full credit and gratitude from the government and the public. But for too long, many veterans have not received their fair share of positive media coverage, and I hope to help turn that dialogue around with this documentary." By interviewing men and women from different services who served at different times, he has woven into a single narrative a DVD that illustrates how veterans return to civilian life and successfully lead productive, fulfilling lives. Many of the interviews were culled from Baker's recent veterans’ television show, while some interviews were done especially for the DVD. Those stories are combined with archival footage, government promotional film and statements from veterans’ service organizations. "This film puts the lie to a general media perception of large numbers of disturbed veterans returning from service and not contributing to society in a meaningful way," Baker says. A long-time writer and filmmaker, some vintage scenes used in the production were shot by Baker as far back as the 1960s when he was a young teenager. Those B&W shots were produced with a silent 8mm camera. "I was working for the Chicago Tribune as a copy boy. So I was able to attend news events and shoot some film at the time of some famous politicians who happened to have been veterans," Baker said. "I didn't know then that I would use the footage far into the future, or 47 that I would serve in combat myself a few short years later." His vintage film is artfully woven between the current footage he produced. Baker has worked for several newspapers, television stations and radio outlets. He is the founder and former managing editor of the Veterans Reporter newspaper, and was the producer and host of the Nevada television's "The Veterans Reporter Show - Chuck N. Baker Reporting." He is currently the producer and host of a Las Vegas radio show by the same name. Baker can currently be heard each Thursday from 8-9 p.m. PST, on KLAV-AM, in Las Vegas. Internationally, the show is streamed live at www.klav1230am. His first video production in the 1980s, "Basic Real Estate Investing," was honored with a "Best Educational Video" award from the Los Angeles Film Teachers Association. "VETERANS: A Motion Picture" is available for $19.95 through Amazon or E-Bay. Baker is a veteran of the U.S. Army's 1st Infantry Division, "The Big Red One." He received a Purple Heart after being severely wounded in Vietnam. After his discharge, he was elected to the office of state commander of the Disabled American Veterans in California, and later held several offices in Nevada chapters of the Veterans of Foreign Wars, The American Legion and the Military Order of the Purple Heart. As a journalist, he was a section editor of the Las Vegas Review- Journal, and was the editor of the Boulder City News in Boulder City, Nevada. He later established the Veterans Reporter newspaper and was its editor for 14 years. He has received numerous journalism awards from the Veterans Administration and from veterans’ service organizations for his compelling reporting about veterans’ issues. Baker also wrote and sings lead on five of the soundtrack songs, two of which contain actual original backgrounds recorded in the 1950s. (Some Woodies may know that Baker was a background vocalist with The Victors on the Hugh Barrett version of "Fungus Among Us" and that he recorded several other numbers in the 50s, 60s and 70s. He also authored the book "The Rockin' 50s, A Rock & Roll Scrapbook" in the 70s.) In 1958 or thereabouts Baker was half of the duo Gary (Bluemel) & Chuck (Baker) in Chicago. They cut their first sides, "You Know (I Love You)" and "Only Love", which Baker wrote, at Hall Recording in the Windy City. The disk was first released on their own Von-Aum label, but was later picked up by the On-Beat label owned by one Renee Mind, also in Chicago. The record did not chart. Baker, who produced the session, held on to the original tapes over the years. When producing the documentary film "VETERANS: A Motion Picture" in 2014 that features personal interviews and positive stories about American military veterans from several wars, he decided to resurrect the songs, but realized that they required some updating. "Musically there was no way the songs could not sound like 50s tunes," he told Tales From The Woods, "and I wouldn't want them not to. But some technical aspects needed correction and updating." Baker took the tapes to Charles Laurence Productions in the suburbs of Los Angeles for "sweetening." To begin with, Baker noted that in addition to himself and Gary, the original session included a lead guitar player (Gary's brother Norm) and a drummer, whose name Baker cannot recall. A stand-up bass player was scheduled to attend, but dropped out at the last minute claiming he held a musicians union card, and could not play on a non-union session. So the two vocalists sang harmony, Baker played rhythm guitar, and Norm did a great job on lead guitar. But as it turned out the man with the sticks was basically a polka drummer, and the boys were eating up studio time trying to teach him how to play a rock and roll beat! "It was extremely frustrating," Baker recalled. "Gary and I were kids. We owned no credit cards (which barely existed then anyway), and we had no checking accounts. We were running out of cash." So they rushed the final take, and besides the beat being generally off kilter in some passages, there was one bar in which the drummer was supposed to hit four beats in succession, but he missed the first beat, so on the first beat there was only silence, followed by three beats that could be heard. Baker noted, "It wasn't the only 1950’s rock record with questionable drumming, but it certainly didn't help sell the record in any event." But with today's digital technology, studio wizard Charles Laurence was able to sample one of the beats from the three good ones, and "drop" it into the silent part, thereby completing the four-beat 48 pattern. In addition, Baker recorded a new lead vocal over the original two-part harmony, and added a dose of echo. The end result is a more modern and even-flowing version of an original 1950’s record. "More the way I would have liked to have done it back in the day," Baker said. However as it turns out when the time came recently to program "You Know" into the film, only a few seconds of the beginning of the record was used. That's because the original "A" side of the record was the flip, "Only Love", for which Baker also recorded a new lead over the two-part harmony, with added echo. That song is used in its entirety as the opening music for the film. "That song opens with a riff I play on the bass strings," Baker said. "It fits better for the opening music, and it's used all the way through. “You Know” sounds great with its major musical surgery, but it didn't work as well as an opener." Additional original compositions by Baker that are also used in the film include "Laural Sue", written and recorded in the early ‘60s with Baker singing and playing guitar (on which he recently overdubbed piano) and original percussion by Rich Mayer, a former member of the Victors who was on the "Fungus" session; "Love and You", written and sung by Baker, recorded in the ‘70s; and "A Single Smile" sung by Baker in the ‘70s with music written by him and lyrics by one Judy Stallings. The songs can all be heard on the DVD documentary "VETERANS: A Motion Picture" which is available on Amazon. Separate from the film, Baker is heading a concurrent project to establish a non-profit organization that will serve to help blinded veterans, and eventually help any blinded American. The company has filed a tentative federal trademark application for the name TIN-The Interview Network.® The company will produce audio description CD and download versions of vintage public domain motion pictures that will allow blinded veterans to hear classic movies and comprehend the stories without viewing the films. The CDs will be provided totally free of charge to organizations that serve blinded veterans and other blinded Americans. The CDs will include verbal descriptions of the action occurring in between the actors’ speaking roles. In addition, each title will include original music that will be written exclusively for each film. Baker said initial releases will be of public domain movies, but as the company develops he will be adding proprietary literary products on CD and via The Organ for the Swedish downloads under TIN's alternate No Pictures Rock'n'Roll Club Needed® logo. Those products will include exclusive books, exclusive interviews, speeches KUNGSGATAN 5 - SE-432 45 VARBERG - SWEDEN and seminars. He will also approach celebrities and ask them to assist in the recording process. Founded in 1979, AMERICAN MUSIC MAGAZINE is an A4 size magazine, published "I want to point out that all the products will be three times a year for all devotees of 50's given totally free-of-charge to any qualified associated music. Each issue comprises at organization that serves blinded veterans," least 48 pages of interesting fact filled articles Baker said. and reviews complete with a cover in glorious colour, rare photographs in abundance, artist Baker is initially personally funding the new discographies and recording session details company, but he is preparing to apply to the when available. IRS for 501(c)3 non-profit status, and is seeking quick approval. Once approved he will approach Annual subscription rates for three issues is £24. Sample copy is £9, PDF file is £15. For corporations and foundations for charitable more enquiries contact our UK representative donations and grants in order to help fund No Dickie Tapp at e-mail: Pictures Needed products to assist blinded [email protected] veterans and other Americans who are vision impaired.
49
Baker’s Dozen
A dip into 40 years of correspondence from the Ken Major (London) / Chuck N. Baker (Las Vegas) archive cabinet Contact Ken for the fuller stories. 1. Live Blues Dying In Its Rural Mississippi Birthplace 2: Paul Jones says “I Believe in God, but the devil he’s got power too, Outsiders might play a tune from the Delta but there is no feeling in it”. With CeDell Davies and T Model-Ford, he is among the last of the Delta bluesman who still live in the cradle of the blues. “Most of what you sing about is suffering. Musicians who were not born here, who have not had their spirits or bodies broken, who have never looked at these endless cotton fields and hated them, can never truly play the blues” said Ford who lives across the Mississippi in Pine Bluff, Ark. Source: Rick Braggs, San Francisco Chronicle, 22.4.2001 2. Redding Still Drawing Fans 30 Years after His Death 2: Otis Redding met his future wife, Zelma and his future manager, the white Phil Walden in Macon in the 1950s. In 1962 Otis accompanied Johnny Jenkins, a Macon guitarist, to Stax for a demo session. After the Jenkins demo Redding persuaded the house band, Booker T. and the MGs, to let him sing one of his own songs “These Arms Of Mine.” Otis had a white audience on the college circuit. Aretha Franklin hit gold with Otis’ “Respect”. Stax is now a vacant lot with a Tennessee historical marker. Source: Russ Bynum, L.V Review-Journal, 11.12.1997 3. Martin Scorcese “The Blues” documentary 2: This is “The Year Of The Blues” and a defining moment in the series is that Voyager 1 carries a recording of Texas blues singer Blind Willie Johnson’s 1927 recording of “Dark Was The Night – Cold Was The Ground.” Blues is now a part of mainstream culture, Suzan Lori-Parks included the genre into her Pulitzer prize Broadway play “Topdog/Underdog”, Aykroyd and Belushi turned the blues into comedy “shrick”, the White stripes sang Son House’s “Death Letter Blues” at the Greek Theatre, and there is a 12 bar night club chain. Source: Richard Cromelin, Los Angeles Times, 28.9.2003 4. Roy Brown Good Rockin’ Tonight 7: In 1971, after his successful appearances with Johnny Otis at the Monteray Fest. in 1970, there were a pair of singles on Mercury. Although his work was as fine as his work 20 years previous, it was less lucrative than selling encyclopedias. In 1978 he issued an album “The Cheapest Price In Town” on his own Faith label. It was one of the best sleaziest albums of the year but probably no more than a few hundred people heard it. Roy Brown was an originator of that strange, exalted thing, rock “n” roll, for which Elvis and a few other kids received the credit. Source: Nick Tosches, Creem, Dec. 1971 5. Recapturing a Partnership That Was Lost 2: D.J. Phil Casden posted his discovery of Howard Tate in an Internet newsgroup dedicated to soul music and found a lawyer to help Howard get his royalties for the reissues of his music. Meanwhile Jerry Ragovoy, Howard’s ex producer, received a call from a British journalist working with a blues magazine declaring that Howard still had a dedicated following. Gerry and Howard arranged a meeting in Manhattan and there are plans to release a new album, Howard wants to raise $5m to build a sanctuary for his ministry. Jerry said that there was no significant change to Howard’s voice, just a bit huskier but that the tonality, the sonority and falsetto are still there. Source: Neil Strauss, The New York Times, 19.7.2001 6. Rock “n” Roll stars reside in Las Vegas 5: Kelloggs Corn Flakes, Pringles Crisps use “Papa Oom Mow Mow” in its commercials. Recorded by the Rivingtons, Al Frazier was the baritone vocalist and co-song writer. Two record producers who had lived on New York’s Rivington Street suggested the name. The origin of the lyric was from a dream one of the group members had and the group wrote a song around it. In 1987 Frazier and his wife left Los Angeles for Las Vegas where he still collects royalties for the song. Source: Chuck N. Baker, Senior Press, March 1998 50 7. The Golden Gate Quartet (1) was founded by Willie Johnson, and when a New York talent agent heard them audition for a Charlotte, N.C. radio station, they were signed to RCA Victor’s Bluebird label and recorded over 100 records. When 18, he and three classmates from Norfolk, VA, developed a sound which established the rule for syncopation in gospel music which overcame the objections of black ministers who had likened the blues of the day to “dance music.” A New York talent agent heard the quartet audition for a Charlotte, N.C. radio station. Source: Burt A. Folkart, L.A. Times, 18.3.1980 8. WWW.radiouseonly.com is the brain child of Lisa Wheeler specialising in radio station vinyl promos and has over a million hits. Several companies such as Hollywood’s Custom Fidelity and Post Records of California pressed these albums for radio stations and were mainly released in the 1960s/’70s. Some were designed to promote the DJs, but they were a nostalgic list of top 40 radio stations in that period. Lisa picks out the WPOP 1969 “Here Hear Vol 11” for its psychedelic coloured vinyl, and the “Bob Keene Big Band Twist To Radio LPs” as some of her favourites. Source: Radio World, 21.5.2008 9. These Nutters Think They Deserve Special Recognition 2: The Britannia Coco-Nutters have performed a street routine every Easter for 100 years in Bacup, dropping into 20 pubs on route. Their costumes originate from 17th century Moorish pirates who traded with tin miners in southern England. When the miners moved north to work the coal mines they brought their rituals with them. They used to wear coconuts shells on their elbows and knees when mining, but now wear wooden discs which they beat with the music. The UNESCO application for funding will be refused because the UK (and USA) have not signed up to its Heritage Convention. Source: Gautam Naik, Wall St. Journal, 2014 10. Willie Humphrey last performed at Preservation Hall in New Orleans on May 27th. He toured worldwide with the Preservation Hall Jazz Band and appeared on “Prairie Home Companion” on National Public Radio. A clarinetist and teacher he was the oldest regularly performing jazz musician in New Orleans and despite his age, 93, always stood for his solos, dancing small shuffle steps. He was born in 1900 and was a grandson of music teacher James B. Humphrey. He is survived by his wife Ora and 4 children. His brother Percy, a trumpeter still performs in New Orleans. Source: New York Times, 6.9.1994 11. Little Richard, the Shirelles, the Coasters, Jerry Butler and Ben E. King were among thirteen groups and solo artists honoured this week at the Fifth Annual R&B Foundation Awards show in New York. When the three surviving members of the Shirelles received their award, someone yelled “sing it” and Shirley Alston broke into an impromptu version of “Dedicated To The One I Love”. Little Richard took the Ray Charles Lifetime Achievement Award and said what he liked about the Foundation “is they give you some money”. Winners of its Pioneer award received $190,000.00. Source: Las Vegas Review-Journal 5.3.1994 12. The ‘50s have been big business with Grease in its eighth year on Broadway, and the Fonz and Gary Busey as Buddy Holly. Attempts have been made to less sanitize the era but there are some controversial ventures. Holgate’s Restaurant has played host to the Drifters, the Classics, the Coasters etc., but some resemble their counterparts in name only. Alan Lee, host of weekly oldies on radio WPFW-FM, says “just at what point does it become a rip-off.” Dick Lillard, host of the Roots of Rock and Roll-WHFS-FM, heard that a Drifters group had two white members. Source: Joel Makower, The Washington, November 1979 13. Hollywood’s 1st Black Singing Cowboy 2: Herb Jeffries approached Jed Buell a B-movie producer and was selected to play in “Harlem On The Prairie” billed as “the first all-Negro musical western”, and earned $5000. While promoting his final film in Detroit in 1939 he showed up at an Ellington performance and was invited to sing and tour, then joined Duke Ellington and scored a massive hit with “Flamingo” which inspired Joe Williams and Sammy Davis Jnr. He also appeared in “Jump For Joy” in 1941. Herb had five wives, one being Tempest Storm, He died 25.5.14. Source: Dennis McLellan, Los Angeles Times, 26.5.2014
Chuck N Baker / Ken Major
51 Marffa's Muffins Ian Siegal and Jimbo Mathus – Borderline 12/11/14 It’s been a good while since I wrote in here, but illness, fatherhood and work have taken their toll on my poor brain, and as for time, well, there just hasn’t been any. That being said, I have been fortunate to get out to gigs every now and again, but not with the relentless regularity of days of yore. Anyhow, I want to tell you about last night. Prominent English blues chap Ian Siegal has been around for many a year, but like a good few of our other home grown talents, I have allowed them to pass me by. Not because I doubt their competence, but because there are only so many hours in a day (see above for other excuses) and I have become more and more choosy as I get older. So, if I had seen him advertised on his own I wouldn’t have given this gig another thought, but the name Jimbo Mathus stood out like a beacon. Jimbo was the driving force behind an American vaudeville band from the mid ‘90s called the Squirrel Nut Zippers. They played at Clinton’s inauguration in 1996, released a few albums and then promptly split up. The last time Jimbo played the UK was 16 years ago. Doors at 7pm the ticket said, so I thought that getting there for 8pm should get me there close to a start time and not have to endure the overpriced west end beer prices. The place was packed when I arrived and the boys were on stage when I walked in just after 8pm. To be fair, it sounded like they were just starting, and it didn’t take long for them to get up to speed. With Ian playing guitar, and the pair of them singing, sometimes in harmony, other times individually, and Jimbo playing guitar, mandolin and harmonica, the set consisted of a really diverse number of songs. Songs that were Blues, Country, English and Irish Folk in style, songs about fighting cocks, bridges, trains, pirates, slow, fast, soulful and funny, the set really showcased Ian’s latest album – Picnic Sessions – that Mathus plays on and also other tracks that Mathus has recorded over the years. But also heard were the Leadbelly classic – Goodnight Irene - Stagger Lee and Pogues’ classic Dirty Old Town! The latter two were part of an encore to their two hour set. Having not heard Ian before it struck me that, at times, he sounded a bit like Bob Seger on some tracks, but on others he had a unique sound of his own. Another track that stood out vocally was Talkin’ Overseas Pirate Blues; Ian sounded very much like Loudon Wainwright III on this track, but I think that the music structure was also very reminiscent of Talkin’ New Bob Dylan by Mr Wainwright. During the show Big Joe Louis was invited up on stage to perform with them. Another performer I have little experience of, he went on to perform Old Mother Nature and Father Time; an unbelievably gut wrenching performance that would bring a tear to a glass eye! The only thing that would have made this night any better would have been the inclusion of a Squirrel Nut Zippers song, but you can’t have everything; can you? After the gig, I was chatting with Mathus and mentioned the Zippers and the fact when he spoke about Stephen Foster in the set I got all hopeful. He told me that he had a plan to introduce a Zippers song to the set at some point in the future… MM 52 The 2014 Rhythm Riot, held at Pontin's in Camber Sands between November 14th and 17th, was easily as enjoyable as those I'd attended previously (I've only missed one in fourteen years) and, as ever, showcased a wide selection of roots music acts despite its usual emphasis on rockin' rhythm 'n' blues, as we'll see. Friday's first live action came via a popular act around the rockin' clubs and festivals, the Revolutionaires, who included lively renditions of Big Joe Williams' "Baby Please Don't Go" and Mike Pedicin's "Burnt Toast and Black Coffee" as part of their act, as well as "Keep A Knockin'", "What'd I Say" & Joe Turner's "Jump For Joy". The evening's schedule was dominated by a towering performance by now-78 years-young Charlie Gracie, on what I believe is his 42nd tour of the British Isles Revolutionaires © Paul Harris since his first, one might say, "rediscovery" UK tour in 1979, 21 years after his previous UK visit in early '58, and 22 after his highly successful debut tour of the UK's variety theatres. It's easy to see why Charlie returns again and again to dear old Blighty; always a polished professional performer, he is also highly personable, he loves the fans and they love him, and so it's completely understandable when Charlie refers to the UK as a second home. Charlie Gracie © Paul Harris Tonight's gig, anyway, saw him backed to perfection by the Big Boy Bloater-led Kings Of Rhythm, and Charlie delivered all the familiar favourites with a gusto belying the years, starting confidently with "Good Rockin' Tonight"/"Rockin' Is Our Business", then into Cameo-era favourites "Just Lookin'", "Wanderin' Eyes", "Butterfly", "Fabulous", "99 Ways", "Cool Baby" and the ever-popular "You Got A Heart Like A Rock", rousing rockin' standards in the form of "Rock A Beatin' Boogie", "Tequila", "Tootsie" and "What'd I Say", the regular breakneck-tempoed feature "Guitar Boogie", the pre-Cameo rocker "Head Big Boy Bloater with Charlie Gracie © Paul Harris Home Honey" and two from Charlie's more recent recording past, "Go Cat Go" and a sincerely-felt tribute to his friend and contemporary, Eddie Cochran, "I'm Alright". So, another fine set from the always-welcome, ever-fabulous Charlie Gracie. A mention in dispatches to two more acts that entertained the punters on Friday evening; Josh "Hi Fi" Sorheim is a young white guitar- slinger/singer who has a bright future ahead of him, I'm sure, as he presented a set rich in covers, among them Bobby Charles' "Take It Easy Greasy", Fats' "I'm Ready", Ray Charles' "Mess Around", Eddie Josh Sorheim Cochran's "20 Flight Rock", Ike Turner's "Matchbox", Joe Turner's © Paul Harris 53 "Chicken and The Hawk" and Little Ike's "She Can Rock", along with originals such as "Love Struck", the busy-tempoed "Let Me Play Your Fender" and "Sweet Strollin' Baby", Bloater and the boys providing first-class backing throughout. I had heard good advance comments about the Spanish 4-piece Los Mambo Jambo and the praise proved to be justified; Dani Nello (tenor sax and occasional vocals), Mario Cobo (guitar), Ivan Kovacevic (bass) and Anton Jari (drums) specialize in the Champs-like Mexican sound, with a touch of the Big Jay McNeely style thrown in, on some numbers, for good measure. A solid, professional act, both aurally and visually, they mixed originals like "Impacto Inminente", "G-String Murders", "Poderosa" and "Fregona" with interesting covers like "St. Louis Blues", Bobby Timmons' "Sack O' Woe", (given a "twist" treatment") Nat Adderley's "Work Song", Hal Singer's "Hot Rod" and Johnny and the Hurricanes' "Come On Train". Must see these guys again. Saturday lunchtime saw an entertaining set by one of London's most popular musical attractions, Slim's Cyder Co., fronted by Zydeco Slim, who started out playing piano with Howlin' Wilf's Vee Jays, and Chrissie Grech, a fine country singer who I remember led Chrissie and the Crackerjacks some years ago. Slim and the band once again mixed humour-infused originals like "My Baby's As Fat As Me" and "Is It Love Or Food Poisoning?" alongside popular covers like "Jambalaya" and "Wooly Bully". That evening, Italian R&B outfit Nico Duportal and the Rhythm Dudes kicked off the live music in the main ballroom, and impressed all and sundry with some tasty sounds, and singer- guitarist Nico led the Dudes on originals such as "Day And Night", "Goin' Back To Ya", "Bottoms Up" and "Melanie", and covers like "Good Rockin' Papa" and "You're Humbuggin' Me". They were followed by a female Dutch trio, the Bugalettes, who provided a pleasant 45- minute mixture of rockabilly ("Ten Cats Down") and R&B Bugalettes © Paul Harris Nico Duportal © Paul Harris ("Voodoo Voodoo") covers. Then it was time for the Central Valley Fireball himself, Roddy Jackson, who reminded us that ten years had passed since he made his incendiary debut at the Riot, blitzing all then present with a solid, no-holds-barred, no-quarter-given Rock’n’Roll show (all who attended from the Woodie kingdom raved about the show for weeks afterwards) that contained many strong songs unknown to us, but actually turned out to be self-penned demos recorded during his brief tenure at the legendary Specialty label (and most eventually found their way to CD, thanks to the Ace label). Ten years on, and Roddy has rightly become a popular figure on the rockin' festival circuit, still workin' hard and pumpin' that piano, blowin' his tenor sax and singin' up a storm. Tonight, as in 2004, Bloater led the band through a performance that almost rivalled Roddy's debut, featuring songs that were originally released on Art Rupe's hallowed label in the late '50s ("Moose On The Loose", "Hiccups", "Any Old Town", the soulful ballad "Gloria" and of course his signature song, "I've Got My Sights On Someone New") alongside the aforementioned demos ("Juke Box Baby", the ballad "Consider", and "I Found A New Girl"), easily his most commercially successful composition, "She Said Yeah", a storming tribute to his idol, Little Richard, with Roddy Jackson © Paul Harris "Lucille", and a new song - at least to me - entitled "Baby Don't You Do Me This Way", one as vital and rockin' as the rest. As 54 always, the show ended with the "jam" song "Let's Rock and Roll", where Roddy gets to exchange some piano and tenor sax choruses with the guys in the band. By way of a postscript, Roddy has become a good friend in the Woodie world lately, via an excellent performance in London last autumn with the TFTW Band, and indeed it was a pleasure to meet and chat with Roddy and his charming wife, Kate, for a little while during Saturday teatime. Keep rockin' Roddy, and come back soon! Saturday night for yours truly ended firstly with a welcome return visit from the American doo-wop outfit Lil' Mo and the Dynaflos, who explore the white side of the genre, and do so superbly, with sharp harmonies and sharper choreography. Some new songs were presented for our approval, and "Settle Down", "Hands Off (The Girl Is Mine)" and "Miss Magician" did indeed go over well. Some nicely-judged covers were faithfully rendered, such as the Carnations' "Long Tall Girl", the Duprees' "You Belong To Me" and Lil’ Mo and the Dynaflos © Paul Harris a notable take on the Eagles' original of "Tryin' To Get To You" as covered, of course, by the Memphis Flash. Great presentation all in all, hope these guys will be back in the UK again before long. A huge draw for many Rhythm Rioters was the lovely R&B chanteuse Gizelle, and she duly delivered the goods with a storming set that included exceptional versions of Elvis's "Crawfish" (sung in duet with Alex Vargas, of the Vargas Brothers, more on him later) and the Falcons' "I Found A Love". This lil' gal with the big voice surely rocks the room, any room, and she is rightly a hot property at the moment, may she always be.
Sunday afternoon saw what has John with become a ritual for the group of Roddy © Woodies who make up the fun Paul Harris band known as the Rhythm Riot Ramblers, where John Spencely and Ralph Edwards on lead and acoustic guitars respectively, Ken Major on tea-chest bass and yours truly on snare drum and hi- hat get together and jam a selection of favourite tunes before an appreciative Woodie audience, that this time ran the gamut from Rock’n’Roll, some country and folk from Ralph, to Cockney music-hall classics. On this occasion, incidentally, the Ramblers Ken, Ralph, Brian © Paul Harris happened to be augmented for a few songs by our very own Mr. Angry - looking anything but - on kazoo. To Sunday evening then, and I managed to catch the suave and debonair Alex Vargas's act, which in content veered between contemporary country and R&B, and he was splendidly backed by Nico Duportal and the Rhythm Dudes. Main American headliner tonight was the very brave singer-pianist Eddie Daniels, brave in that shortly before he made the plane trip to come to the UK he was involved in a road traffic accident, injuring his knee. Dressed Alex Vargas © Paul Harris all in red, and hobbling to and from the piano with the aid of a 55 sparkling cane this evening, he presented a selection of rock and roll standards from the songbook of his friends and contemporaries Little Richard ("Lucille" and "Send Me Some Lovin'") and Larry Williams ("Bony Maronie"). Eddie recorded for the Ebb label in the late '50s and to the disappointment of many in the hall, his revered rocker "I Wanna Know" wasn't on the set-list for tonight and remained unheard. However, his Ebb recordings of "Whoa Whoa Baby" and "Mardi Gras In New Orleans" (yes, the song first recorded by Professor Longhair) were featured, together with "My Eyes Are Cryin'", a song cut by Eddie in duet with another friend, Jewel Akens and originally released as by Jewel and Eddie. Another rarity, "Hurry Baby" was also included, but Eddie's was a bit of a scattergun set in terms of material, what with Don Gibson's "Oh Lonesome Me" (with a bizarre slow/fast arrangement) and "What'd I Say" (again) included, but it must be said that Eddie - who sang lead with Zola Taylor's group of Platters for several years - once again, showed immense courage in making the trip and entertaining the Rioters, a real trouper for sure! He scored a great success at last year's Ponderosa Stomp and is generally a sprightly performer, so hopefully Eddie can somehow return one day and present the kind of show we know he can do. Eddie Daniels © Paul Harris And that was the 2014 Rhythm Riot through my eyes, let's do it all again next year! My thanks are due to John Howard for his help in identifying certain song titles. Brian ‘Bunter’ Clark
Mr and Mrs Gracie © Paul Harris
Jiving fun © Paul Harris
Roddy Jackson © Paul Harris One Man Band © Paul Harris
56 SOUL KITCHEN “Required reading” - John Broven. SOUL/R&B SINGLES released in the UK by label. 1970. Part 12. Catalogue numbers in brackets. Unless stated all comments relate to the A side. PRESIDENT President records, an independent label, was set up by songwriter and music publisher Edward Kassner in 1966. The label’s forty fives covered the whole range of popular music, and us soul fans were kept well satisfied. The label is still going strong today. The Belles - Don't Pretend/Words Can't Explain (311) (US Mirwood) As this was released on Mirwood, there was no reason to suspect what a load of poo this would be. Think of all the mid-sixties classic recordings from Jackie Lee, Olympics, Bob & Earl etc, all with the usual Fred Smith creative productions. The Belles have a nice girl lead but that's about all. Jerry Butler - Make It Easy On Yourself/Moon River (299) (US Vee Jay) Revived sound that dated back seven years to 1963. Butler was at the peak of his Vee Jay career, and this delightful Bacharach & David ballad took him high into the top 20 R&B and Pop charts in the States. Butler had progressed very much since then, but his smooth and stylish voice is apparent. One of the most enchanting Soul records of all time. Moon River, also from 1963, was the one that really put Butler into the public eye, since his recording was the theme song to the film "Breakfast At Tiffany’s". A couple of beauties. The Darlettes - Lost/Sweet Kind Of Loneliness (317) (US Mira) Quite a pretty ballad that dated back to 1967. Composed by Van McCoy, with the lead singer sounding very much like Dionne Warwick. Not a lot going for it. Wilson Pickett - If You Need Me/I'm Gonna Love You (319) (US Double L) Straight reissue of these two mighty soul goodies. Both sides are classics. John Lee Hooker - Dimples/Boom Boom (295) (US Chess) Straight reissue of these two mighty blues goodies. Both Sides are classics. Billy Preston - If I Had A Hammer/Ferry 'Cross The Mersey (298) (US Vee Jay) Bill’s organ solo instrumental treatment of Trini Lopez's ditty highlights his ability at the keyboards, and why he was a prominent session musician. A goodly strutting beat dominates, and guaranteed to get your feet tapping. On the B side we find the Pacemakers’ hit. Around this time Preston was very close to the Beatles, so I guess one would expect a Mersey or two in his repertoire. It was not until the following year (1971) that he began to grace both R&B and Pop charts, where he stayed until the eighties. I think I saw Billy Preston on his organ in Sam Cook's band at the Tooting Granada 27/10/1962. PYE INTERNATIONAL Pye Records was formed in 1955. During its lifetime the label went through many changes, diversifications, with many other labels coming under the Pye umbrella. It licenced recordings from various labels, particularly Chess in the sixties, which brought the Blues and Rock’n’Roll to the forefront in the UK. In the seventies they introduced a label called Pye Disco Demand, specifically for Northern Soul. Funkadelic - I Got A Thing, You Got A Thing, Everybody's Got A Thing /Fish, Chips and Sweat (25519) (US Westbound)
57 This was the group’s first British release. Their twilight years before busting onto the scene with their unique cosmic groovallegiance funk. Up-tempo with an excess of wah wah, that draws a lot of comparison with Sly and the Family Stone. Creative production with the accent on excitement, as we would later come to expect from Clinton, Collins etc. This was an R&B and Pop hit in the States. Cissy Houston - I Just Don't Know What To With Myself/This Empty Place (25537) (US Janus) A good day at the office for Cissy, as she tackles this Bacharach & David ballad with verve and vigour. Cissy began her singing career singing with the family group the Drinkard singers, which included nieces Dionne and Dee Dee Warwick. She is also mother of the late Whitney Houston. Brenton Wood - Great Big Bundle Of Love/Can You Dig It (25522) (US Double Shot) His moment of fame was of course his 1967 smash, 'Gimme Little Sign'. He could never repeat that magic. From then on his releases were pleasant, as is this appealing ballad that is easy on the ear and quite attractive. The chorus is very catchy, but overall it's all rather bland. He first recorded with Little Freddy and the Rockets in 1958, check it out. Soulsssssssssssssssssssssssssoulssssssssssssssssssoulssssssssssssssssoul
LOST SOULS
IDRIS MUHAMMAD Idris Muhammad was a prolific session drummer who crossed over several musical styles. He had his own solo jazzy funk success in the late seventies on Kuda Records. Leo Morris was born 13th November 1939, in New Orleans. He was friends with the Neville family, and together they encouraged and supported each other on their first musical steps. In his early years he was a driving force behind a raft of fifties and early sixties hits, including, when he was a mere 16 year old, Fats Domino’s Blueberry Hill. Also sessions for Larry Williams - Bony Moronie, Joe Jones - You Talk Too Much, the Impressions - Keep On Pushing and People Get Ready, the Dixie Cups - Chapel Of Love, the list is endless. In 1965 he began a lengthy stint with Lou Donaldson, cutting classic albums for Cadet and Blue Note. By now he was working with all the greats of jazz, Nat Adderley, George Benson, Charles Earland, Grant Green, Lonnie Smith, Reuben Wilson to name a few. In 1974 he signed for Kudu records and was featured on albums by Bob James, Grover Washington, as well as releasing records in his own right. He had considerable success in both US R&B and Pop charts with 'Turn This Mutha Out' (1977) and 'Could Heaven Ever Be Like This' (1978). Muhammad continued to work with a who's who of soul and jazz performers. He retired from music in 2011, after spending the previous two decades working with jazz pianist Ahmad Jamal. Over five decades he logged hundreds of recordings and thousands of performances. He had been receiving dialysis treatment. He died 29 July 2014. 58 JOE SAMPLE Joe Sample was a pianist, producer, composer, arranger and member of the very successful instrumental jazz funk oriented group the Crusaders, in the sixties. Joe Leslie Sample was born 1st February 1939 in Houston, Texas. At the age of five he was already a dab hand around the piano keys. In the early fifties at high school, Sample, along with Wilton Felder, and "Stix" Hooper, formed an all-purpose trio the Swingsters. At Texas Southern University in the mid-fifties the three Swingsters were joined by Wayne Henderson, Henry Wilson and Hubert Laws. Now called the Modern Jazz Sextet, the six piece group undertook gigs around Houston. Their material ranged from B B King to Dizzy Gillespie. They had milked the Houston live scene dry, so they up-rooted and headed for Los Angeles, California. Now known as the Jazz Crusaders they landed a contract with Pacific records, laying down some stylish funky jazz, they were somewhat ahead of their time though. The group became stalwarts of California's West Coast scene. While the band continued to work together, Sample and the other band members pursued individual projects as well. In 1969 Sample made his first recording under his own name, the album, FANCY DANCE. In 1970 the band dropped the Jazz and became simply the Crusaders. Endorsed by many rock and soul artists, success began to build. The Average White Band's cover of 'Put It Where You Want It', from the album CRUSADERS 1, had a major impact in their expansion. The early seventies saw the group consolidating their reputation with a string of superb albums, dominating the jazz charts. Also collaborating with an assortment of diverse artists, and as lucrative session musicians kept them industrious. In 1979 the Crusaders entered a new phase when they recorded the title track of the album STREET LIFE with vocalist Randy Crawford. The single was a huge hit, setting Crawford on the road to superstardom and finally establishing the Crusaders as a household name. In 1983 MCA released Joe Sample's album, THE HUNTER. Amongst the six tracks was the nine minute long 'Night Flight' which featured a number of leading jazz musicians of the day, this being a supreme example of the birth of jazz fusion. In 1987 the Crusaders broke up, although they often, over the years, went back into the studio periodically. Sample went on to record numerous albums under his own name, and kept a busy freelance life in the studio. He died 12 September 2014 from pneumonia/mesothelioma. Like Idris Muhammad, Joe Sample’s contribution to Jazz, Soul and R&B music genres is unparalleled. The pair litter dozens of records in my collection. Check out Lamont Dozier's left fielder PEDDLIN' MUSIC ON THE SIDE.
JIMMY RUFFIN had a string of hits in the sixties for Tamla Motown, and is best known for his classic 'What Becomes Of The Broken Hearted'. He died 17 November 2014. Full obituary next issue.
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59 PLAYING SOUL
What was in Soulboy's slot and on his deck recently? (18/11)
1. Bobby Womack - It's Party Time (Sony 1978) 2. The Holmes Brothers - Stayed At The Party (Alligator 2014) 3. Lou Johnson - Magic Potion (Big Hill 1966) 4. Laura Lee - Dirty Man (Chess 1967) 5. Irma Thomas - We Got Something Good (Chess 1968) 6. The Inspirations - Your Wish Is My Command (Midas 1966) 7. Jerry Fuller - Double Life (Challenge 1966) 8. The Jades - I'm Where It's At (Nite Life 1966) 9. Moses & Joshua Dillard - My Elusive Dreams (Mala 1967) 10. Oscar Toney Jr - No Sad Songs (Bell 1967) 11. Millie Jackson - My Heart Took A Licking (MGM 1970. Her only MGM release after leaving Spring) 12. The Notations - Superpeople (Gemigo 1974) 13. Leroy Hutson - Lucky Fellow (Curtom 1975) 14. Eddie Floyd - I've Never Found A Girl (Stax 1968) 15. R Kelly - Sex Me (Jive 1993) 16. Mighty Sam McClain - Dancin' To The Music (Audioquest 1996) 17. Gwen McCrae - Let's Straighten It Out (Cat 1978) 18. Sly Johnson - Steppin' Out (Hi 1975) 19. Doris Duke - The Feeling Is Right (Canyon 1970) 20. Bill Brandon - Good Guys (Don't Always Win) (Moonsong 1973. Not issued until Ace cd 1998) 21. Gene Chandler - Buddy Ain't It A Shame (Brunswick 1966) 22. The Montclairs - Dreaming Out Of Season (Paula 1991) 23. The Originals - You’re The One (Soul/Motown 1969) 24. Bobby Womack - Broadway Walk (Mint 1967) 25. Fred Wesley - House Party (Curtom 1980)
Remember you're in safe soul hands with....
SOULBOY Keep on keeping on 60 JAZZ JUNCTION
Allison Neale at Merlin’s Cave 26 October 2014
The early lunchtime start at a public house in Chalfont St Giles required an equally early start by two intrepid members of an elite London Jazz Club for the journey to this tiny village in the affluent greenery of the outer reaches of south-east Buckinghamshire. Being utilised for the gig was the pub’s outhouse with its black-painted oak beams and white-painted plastered walls. As eyes grew accustomed to the light, cobwebs could be seen, echoing the senior status of most of the audience, if not their minds. Alto saxophonist and flautist Allison Neale was not with her regular group of musicians, as seated behind the drums was the comforting figure of Nat Steele who normally appears on vibes. Doubling on vibes and drums is not an unusual pairing; the names of Lionel Hampton and Victor Feldman spring to mind. Making up the group were Jeremy Brown on double bass and Rob Barron on keyboard. Allison Neale is firmly ensconced in the West Coast school of jazz, with Art Pepper and Paul Desmond cited most often as her primary influences. Although it is not always the case, listening to her perform it is hard not to draw the conclusion that her personality informs her playing. There is nothing flashy about her, as indeed her casual attire and simple hairstyle attest. However there is a poise and elegance to the poetry of her playing; she does not strain; she wastes no notes; and at all times her demeanour betrays a highly- tuned sensitivity to the music, often listening eyes-closed when stepping back to allow others to contribute. Given the fact that she was promoting her new album I Wished On The Moon, it was a mite surprising that only two numbers, the title tune (recorded by Art Pepper on the album Intensity) and How Little We Know, were drawn from it. The latter’s inclusion was inspired by her liking of the Frank Sinatra version. One of the pleasures of attending an Allison Neale gig is her choice of material. The obvious standards of the jazz repertoire tend to be avoided, as her discriminating taste settles on tunes on forgotten albums that have you scuttling home to search for in your collection or on YouTube. A case in point was the Pat Martino album El Hombre, from which two tracks were chosen and where Allison switched to flute. They were the Pat Martino composition One For Rose and the lovely Antonio Carlos Jobim bossa Once I Loved. On the original album the flautist was the late Danny Turner, who was better known for his alto saxophone contributions to the Count Basie Orchestra for twenty years after joining in 1974. An excellent gig and an equally excellent third Allison Neale album. Dave Carroll 61 The Buzz Welcome to The Buzz The 'Tales From The Woods' round up of gigs where you really need to show your face. Hi gang, over the last few years, a lot of people have asked us at Tales From The Woods if and when we are going back to the 100 Club. Well the answer is March 8th; the second Sunday in March 2015 will see the first boogie woogie themed show at this historical London venue for many a long day, indeed an increasing rarity for a roots gig of any persuasion. Such was the buzz from both performers and attendees alike to the first of our boogie woogie events at the Spice Of Life which, to be honest, was simply intended to be purely a one off, the success and interest it created influenced us to follow it up on the 28th December at the Spice, as you will have seen and read elsewhere, with the wonderful pianist and academic on the genre’s history James Goodwin. At the 100 Club we are very pleased to announce that, in collaboration with Henri Herbert and Big John Carter, we shall be presenting an evening of Boogie Woogie, Rhythm and Blues, Rock’n’Roll and Ragtime with these two wonderful performers along with a band and no doubt a guest or two. We are the only folks who present real music at real venues in central London on a regular basis be it Borderline, Spice Of Life, 100 Club or any other venue that we have considered past and present as suitable for our music. If you have been to our shows in the past then you know how good they are, tell your friends, tell whoever you meet who you think may be interested… we can only do it with your help to keep real music alive. We have decided to throw open issue 82 of this magazine to all comers, a trial one-off to throw open the doors by withdrawing the password, so that as many people as possible can enjoy what Roots music and us have to offer. Hopefully we will pick up a few folks who had no idea about us or all the fantastic music genres we champion, and will be encouraged to join us or those that had no idea at all of the music’s existence will be blessed with a life changing experience. As you have read elsewhere within these pages, at the time of going to press we were just a few days from yet another of our highly successful interviews at the Kings Head near Marylebone High Street. As we enter the height of the winter we take a break from these important attempts to preserve for generations to come the wonderful artists, musicians and all those help to keep the music we love alive for them to enjoy in later years. The aforementioned Kings Head is a small family run pub tucked away inside Westmoreland Street, a quiet side street off New Cavendish Street just a few metres away from bustling Marylebone High Street. If you’re in old London town as we lead up to the busy Christmas and New Year period or indeed any time after, pop in, say hello to guvnor Mel who has been a good friend to Tales From The Woods for many years. Say it is on our recommendation that you are there, see if you can spot the 62 painting of Jerry Lee Lewis disguised as Henry VIII which hangs proudly upon the wall. I am sure Mel will be happy to point it out to you, if you can’t pick it out from the many varied paintings that adorn the walls. Patty Lee has apologised for no New Orleans column this time as they are away for Thanksgiving but hope to be back in all their splendour for the next issue. News has reached us here that Auntie Beeb has plans to close down their BBC 4 TV channel, yet another act of supposed cost saving. Obviously a new broom has been hired to do their master’s bidding in government and without too much doubt an act of spite after their attempt to achieve likewise with the BBC 3 TV channel failed miserably a couple of years ago. Like me many of you will be considering the point of even owning a television should their plan be brought to fruition. Have a great Christmas and new year gang, see you all in 2015, time now to hand over to Dave 'Jazz Junction' Carroll for his seasonal gig guide. What do you have for us Dave in your sack of goodies?
The Gig List Information is obtained from various sources and is hopefully accurate. The advice ‘check before travelling’ remains sound.
December 2014 6 Saturday Shalamar And where will they take their performance fee? Indigo at The O2 £28.90 - £57.10
7 Sunday Peter O’Brien’s 75th Birthday Bash (with Wes McGhee, Starry Eyed & Laughing, and more) One for fans of Omaha Rainbow. (A What’s Cookin’ promotion) Leytonstone Ex-Servicemen’s Club, Harvey Road, E11 3DB 4.00 – 10.00 pm Collection
10 Wednesday Ane Brun Born in Norway and living in Sweden, but visiting England for a solo gig. My Norwegian neighbour swears by her, but then a Norwegian would. Shepherd’s Bush Empire £19.68
11 Thursday Kokomo British soul band continues its comeback. Islington Assembly Hall £17.60
11 Thursday The Rockingbirds British country-rock band whose first album in 17 years drew comparison with The Jayhawks. The Borderline £10 + fees
12 Friday Martha Reeves Martha’s Motown magic is odds on to strike out the noise of the bowlers. Brooklyn Bowl £25 + fees
13 Saturday Wreckless Eric Return of the unsinkable cult figure. 100 Club £13 + fees, £17 door
14 Sunday Mike Sanchez The best of British rhythm & blues. 63 100 Club £14 + fees, £17 door
16 Tuesday Marcus Malone If blues-rock is your bag, then... 100 Club £10 + fees
19 Friday The Dylan Project One for fans of Dylan and this super group of musicians. The Borderline £16.50 + fees
20 Saturday Little George Sueref JUKE BLUES MAGAZINE Hypnotic blues. A What’s Cookin’ promotion. P.O. Box 1654 Leytonstone Ex-Servicemen’s Club, Harvey Road, E11 3DB Yatton, Bristol Collection BS49 4FD England 21 Sunday Laura B & The Moonlighters Fax: 01934 832556
‘The UK’s new diva of rhythm & blues’. Editor: Cilla Huggins The Clore Ballroom at the Royal Festival Hall Reviews: Alan Empson 12.30 to 2.00 pm Free Subscriptions: Richard Tapp Consulting Editors:John Broven/Mick 28 Sunday TFTW presents James Goodwin Huggins Boogie-woogie piano not for the faint-hearted. The Spice of Life Door, Adv £12 Woodies £10
January 2015 13 Tuesday Little Axe Skip McDonald with his own brand of blues. The Blues Kitchen, Camden Free
15 Thursday Little Victor The Beale Street Blues Bopper fetches up near Silicon Roundabout. The Blues Kitchen, Shoreditch Free
15 Thursday Lucy Kaplansky New York based folksinger whose father was a mathematician. The Borderline £15 + fees
21 Wednesday Ruth Moody Canadian folk artist and Wailin’ Jenny out on her own. Green Note @ The Old Queens Head, 44 Essex Road, N1 8LN £13 + fees
22 Thursday JD McPherson Rock ‘n’ Roll from Oklahoma by a regular visitor to these shores. Islington Assembly Hall £15 + fees
30 Friday Chris Farlowe with the Norman Beaker Band Always an enjoyable gig. The Borderline £17.50 + fees
February 2015 1 Sunday TFTW 2is Reunion / British Rock ‘n’ Roll Heritage Show No 10. Another musical extravaganza. And this is just part one! The Borderline Door £28 Adv £25 Woodies £20
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6 Friday Justin Townes Earle The best musical Earle (apart from the Duke, of course). Union Chapel £13.20
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Acknowledgements
Editor Keith Woods The Rock Neil Foster Page 2 Third Page Keith Woods Page 3-12 Dublin Castle Tony Annis Page 13-15 Mr Angry John Howard Page 16 Early Musical Memories Tony Papard Page 17-18 American Music Magazine AMM Page 19 Mr Angry John Howard Page 20 Cliff White Interview Keith Woods Page 21-31 Blues Rambling Dave Parker Page 32-34 John Howard Profile Kelly Buckley Page 35-36 The (Borrowed) Vinyl Word Nick Cobban Page 37-38 CD Reviews John Howard/Dominique Anglares Page 39-46 Veterans: A Motion Picture Chuck N Baker Page 47-49 Baker’s Dozen Chuck N Baker & Ken Major Page 50-51 Marffa’s Muffins Matt Slade Page 52 Rhythm Riot Brian Bunter Clark Page 53-56 Soul Kitchen John ‘Soulboy’ Jolliffe Page 57-60 Jazz Junction Dave Carroll Page 61 The Buzz + Gigs Keith Woods & Dave Carroll Page 62-65 Membership Secretary Ken Major Pix Paul Harris Website Alan Lloyd The ‘Real’ Editor ‘H’
If you wish to be placed on our mailing list to receive the free on-line magazine (around six issues per annum), occasional newsletters/round robin emails which advise all our subscribers of items of interest, reductions on all TFTW gigs/merchandise, also reductions on selected promotions, automatic invitations to all TFTW social events, or if you wish to advertise in the UK's only on-line roots music magazine, please contact 'Tales From The Woods' 25 Queen Anne Avenue, Bromley, Kent, BR2 0SA Telephone/Fax 020 8460 6941 Articles for publication can be e-mailed to [email protected] All subscribers receive a membership card. For those who do not possess a computer we send out black and white paper copies of the mag which will incur a fee of £10 per year. Remember - you’re only young twice… Keith Woods
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